Sweepable parametric EQs can also be used. One band is provided for each octave in a 10-band visual EQ, like API's 560, which makes things a little easier. So you can also use a 10 Band EQ or a parametric EQ. Three frequency bands are provided for every octave by a 31-band EQ, which is actually a lot of resolution. Advanced Exercise - Vowel techniqueĪdd a pink noise with 31 Band graphic EQs or a 10 Band EQ on a separate channel. The key is to give your mind a reference and a framework to listen for. This may vary slightly depending on the music. Learn to assign a number to rumble, boom, thickness, mud, forward mids, harsh mids, clear high-mids, harsh high-mids, silky top end, and harsh top end. Examine each instrument to see which frequencies best describe its personality. Learn the frequencies present in each sound as you work on your compositions by isolating them. Once you grasp a hold of guessing the instruments, frequencies and sounds right, it is time to put numbers to the sounds. What is causing the most minimal rumbling? What causes the bass sensation? What's kicking you in the stomach? Where on the frequency spectrum is the lead instrument located? Where are the guitars? What musical instruments and frequency ranges are performing chords? What, and in what range, is the lead instrument's or voice's counterpoint? What audio is setting the mood? What instruments or sounds are creating width in the track? Next, divide the song into musical frequency ranges without specifying the ranges' specific numerical frequencies. You can use a spectrum analyser or reference plugins to help you if you are just getting started. When new instruments are introduced, how are they altering the mix? How is the depth and width of the track changing as it progresses? How are the low-end, mids and highs behaving all together? Listen for musical and artistic expressions. Try and understand instruments/sounds in sub-bass, bass, mid, and high frequencies. Play it and mark frequencies that stand out to your ears. Choose any song which appeals to you and study it to the core. Listen to well-recorded and well-mixed songs on repeat. Sound Characteristics & Frequency Range Sound Characteristics Frequency Range SubBass/Rumble 20Hz-40Hz Low-end/Bottom 40Hz-90Hz Boomy/Punchy 90Hz-150Hz Warmth/Dark 130Hz-230Hz Proximity Effect 250Hz MidRich/Fullness/Muddy 250Hz-500Hz Honk 400Hz-1kHz Poky/Tinny 1kHz-2kHz Crunchy/Shrill 2kHz-4kHz Edgy/Brittle 3kHz-6kHz Sibilance Voice(esses) 4kHz-10kHz Definition/Presence 6kHz-11kHz Crystal/Piercing/Highs 8kHz-14kHz Air 12kHz-20kHz Intermediate Exercise - Reference Numbers Is it rich in the low-end, mids, or highs? Is it boomy, muddy, warm, dark, clear, honky, etc? Generally, people use these words to refer to frequencies.īelow is a sound characteristic and their relative frequencies table for your reference. Next, try to analyse different instrument sounds and give their characteristics a name. It will help you understand the low-end, mids, and highs a lot better. For starters, listen to several instruments and try to guess their fundamental frequencies. Then try to think about where the fundamental frequency range is. Start by categorising an instrument as low, mid, or high. Beginner Exercise - Identify Soundsįor beginners, start by identifying instruments and guessing what their fundamental frequency range could be. So training your ears to identify frequencies and training your mind to associate and recall those frequencies with sounds is essential.
Learn To Identify FrequenciesĪs an audio/sound engineer, your primary concern is with frequencies and how they are behaving in the mix. Learn To Listen To Click, Pops And Other Artifacts.Learn To Listen To For Masking And Phasing.Here are the steps to start ear training practice for engineers:
How To Do Ear Training For Audio and Sound EngineersĮar training is a practice to train your ears as well as your mind to listen for critical information in sounds. In this article, learn step-by-step how to ear train as an audio engineer. For this audio and sound engineers ear train. You have to become a critical listener to become a good mix and master engineer.īeing able to identify what is actually good and bad in a sound is critical. You have to listen beyond your perception.
Perception is what hampers the growth of an audio engineer. These emotional triggers are good for a casual listener and an audience but are not good for an audio engineer.
How a human responds and listens to these sounds all depends on individual perception and experiences. The sounds of birds chirping, horns honking, a huge waterfall, a large crowd cheering, dogs barking, acoustic guitar strumming, etc., all trigger an emotional response.