(1) Bass compensation
16Hz ~ 64Hz is the lowest sound, the current instrument can play the lowest sound is the organ, it can play 16Hz, so the low frequency of the human ear is generally not heard, but the body can feel; from 20Hz ~ 64Hz people The ear can be heard, but it must be played with a high-fidelity device. From 63Hz to 250Hz, it is the low range. It is the top priority of our bass compensation. This band is very important for music. It is the basis of music. The bass rhythm instruments belong to this frequency band. Good or bad, determines whether the music skeleton is complete. Therefore, the low-frequency characteristics should be flat, which can make the sound full and natural, of course, can also be compensated according to the requirements and preferences of the instrument.
(2) Midrange compensation
From 250Hz to 2000Hz for the middle and low range, this frequency band is the least susceptible to loss during transmission and recording, and is the backbone of sound. 2000Hz ~ 4000Hz is the mid-high range; this band has an important contribution to the clarity and brightness of the sound, and is also our most important regulatory object. If the sound is turbid and the tone is too dark, the frequency band can be raised. When the sound is too hard, it can be attenuated to make it soft. When the sound is boring, it can be raised to make it bright, but if the sound is too much, the sound will be harsh. Languages or songs usually have to adjust this band.
(3) Treble compensation
From 4000Hz to 8000Hz, the high-pitched area can maintain the characteristics of the flat line, and the naturalness of the sound is good when the flat line characteristic is maintained. It can also be attenuated or upgraded according to the content of the music and the characteristics of the sound source. However, it should be noted that the attenuation or lifting should be moderate and not too much, otherwise the sound will be unnatural or even metallic. Above 8000Hz is the highest sound zone. This frequency band has an important contribution to the timbre, and it is also our control object. It can be combined with the sound of the sound source to make appropriate compensation.
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