Filter
Top Products
21
Passeq
Frequency and Energy
In general, a frequency prescribes a number of events in a time interval. The per-second cycle
of a wave form is given in Hertz (Hz). Lower tones produce longer waves and higher, waves of
shorter length, and the higher the frequency, the higher the tone. The higher the amplitude
of a wave, the higher its energy level and in turn, the louder it is perceived.
Tone and Sound
In the area of music, a sound event is referred to as a tone. Such a tone is complex: it is
comprised of different frequencies, each at a different energy level.
In analyzing the components of a naturally produced tone (such as those created by a real
instrument or voice), we see the following ingredients: A natural tone is comprised of a lowest
pitch or fundamental along with many additional higher components called harmonics. The
arrangement of these pitches is called the harmonic series, which includes the entire group
of frequencies from fundamental to higher harmonics and is called the frequency spectrum
of a tone.
As the lowest pitch, a fundamental determines the basic frequency and its perceived pitch.
The frequencies of the harmonics are multiples of the fundamental frequency and determine
the specic sound of a tone (that is, whether it sounds like an instrument, voice, etc.).
Should one wish by electronic means to record, process and play back a given tone, it is
crucial to maintain the accuracy of the frequency spectrum if one wishes to be able to recog-
nize it later as the original. Just as important is the aspect of maintaining the original energy
levels of all frequencies it is composed of.
In producing a tone, the distribution of energy within the frequency spectrum is further and
decisively inuenced by the acoustic environment through the mixing of direct and reected
sound. The energy relationship between fundamentals and harmonics is different between
direct sound and that which is reected (for example, harmonics of a reected frequency
spectrum may have measurable more energy), and this can change a tone‘s perceived sound.
Later, when a musician has the impression that a recording is not true to the original, that he
or she has either played or sung, an important consideration to make is to examine the resul-
tant frequency spectrum.
Sound Correction and Sound Design
Along with acoustic inuences of a recording ambience, it should also be understood and
accepted that, to say the least, there are denite technical limits to recording and playback
that may strongly inuence an end result. In the rst decades of electronic recording, the
principle inuence on the quality of such recordings centered on the choice and placement
of microphones. The rst Equalzers were used to combat technical and acoustical problems
such as insufcient frequency response from microphones and loudspeakers or even inad-
equate relationships in room acoustics that needed to be corrected or brought into balance.
The goal was always to bring into balance as much as possible—and maintain—the correct
frequency spectrum of an originating tone source.
The introduction of multi-track recording in the 1960’s brought a fundamental change in the
way recording was done. Instruments intended for one production could be recorded in sepa-
rate sessions and at different times. The mix from many individual recordings—at rst in only
four tracks—nonetheless added a new problem of offering ways to add further sonic quality
through further processing of individual tracks, because with each copy a track’s quality was
reduced.
This introduced an entirely new function for EQ, for example, the emphasizing of partic-
ular instruments in their tracks to prevent them from being lost in a mix by altering certain
parts of their frequency ranges. Along with this ability to emphasize specic tonal qualities
appeared the added capacity to indulge in even more creative work through much stronger
or even exaggerrated processing of a sound and thereby lend it even more presence in mixes.
Without a doubt, the increasing popularity of electronic tone production has played a large
part in the further development of EQ ltering as a creative element in audio production.
The Basics of Frequency Filtering