In terms of the performance of replaying music, whether or not the overall balance can be achieved in tone is a problem that should be paid attention to when listening.
Can the bass, midrange and treble have a good balance? If it sounds like the treble always feels too much, it becomes bright. If it sounds a little high, it becomes dull or the treble has a rolled-off phenomenon. If the entire music is covered by bass, it is called thin, light weight, or lean.
For acoustic characteristics, the overall balance of audio equipment in tone is often always important.
Treble is good for high-fidelity music playback. Good treble is crucial. In fact, there are a lot of good audio equipment that can't be used to replay music. The reason is that their high-pitched performance is still lacking.
1 - The ugly treble is used to describe the ugly treble terms that you would like to try not to hear:
Bright, fizzy, forward, aggressive, hard, brittle, edgy, dry, white, hard ( Wiry), bleached, metalic, sterile, analytical, screaching and grainy or grainy.
If the treble of an audio device sounds more obvious, it means that the loudness has been enhanced above the already loud sound in the high frequency band. For example, the louder voices, the excessive hum of the vocals (sh and s) and the thin violin. When the audio equipment reproduces too many high notes, it is called bright. In the high frequency range of 3 kHz to 6 kHz, the bright treble is more pronounced. A bright treble occurs when there is an elevation in the frequency response of the speaker or if the circuit design is poor and the harmonics are stronger than the fundamental. There are a lot of CD players and transistor power amplifiers, although the frequency response tested is quite flat, but still makes the treble more prominent.
When there is a strong high pitch (6 kHz to 10 kHz), it sounds harsh. It is characterized by whitening like a high sound, and the harsh voice is due to the higher harmonics. There are other buzzing and air around the main voice, and the harsh sound will make the voices have more squeaking sounds than the squeaking sounds.
The push forward is very similar to the bright ones and is used to describe the excessive treble. However, the push forward always sounds a bit dry and lacks a sense of space and air.
Of the many terms listed above, some actually have the same meaning. For example, stiff, spiked and metallic sounds are used to describe those very ugly sounds. It can't help but think of the kind of sound that comes out when you hit the metal hard. In fact, the unique harmonic structure that the metal emits when it collides with the metal is really the same as the distortion that is generated when the power amplifier is required to make a loud sound when it exceeds its allowable output power. The waveforms are very similar.
Through actual comparison, the alto saxophone can be used to measure whether the treble is stiff, spiked and has a good scale of metal sound, especially for the low frequency of high frequency. If the effect of the replay is not so good, the saxophone's voice will appear thin and screaming, making people sound uncomfortable. Contrary to these annoying trebles, it sounds warm and rich in treble. When the treble harmonics of the reproduced saxophone have a metallic sound, the entire instrument astounds. Interestingly, the harmonic structure of the saxophone's sound is much more complicated than any other instrument. It is no wonder why the saxophone can best be used to explain whether there is any problem with the high pitch.
The meaning of paleness and fatigue is also very similar to brightness. However, we will use them more to indicate that the high-pitched sounds appear to be thin at the high end of the intermediate frequency due to lack of energy. Due to the lack of support for harmonic structures underneath, the treble sounds boring, a bit like an overexposed photo. The voice should be the low-frequency components that are shiny and want to knock. If you hear a string of white noise (like the noise between the stations when you are adjusting the radio), then it is likely to be a weak and pale treble.
Even more unacceptable are those rough trebles with particles that add some particles to the original treble texture. Most of the violin solo, violin ensemble, flute and female voice will hear the treble of this grain. For the flute, the treble with particles is a bit like superficial or ambiguous sound on the dynamic envelope of the long tube, and the violin with particles is like a string without a string. The hacksaw went to play the violin. For example, it is like spreading a granule on a delicate smooth blanket to make the blanket rough.
2. The pleasing treble is used to describe the melodious high-pitched vocabulary:
Smooth, sweet, soft, silk, gentle, liquid, and lush. If the treble sounds too round and full, it is called rendering, fading or sweet. If you hear the mellow, sweet and slender, it will be very good. The sounds of fading and sweet treble indicate that the audio equipment is too much in terms of mellowness, and thus acoustic dyeing has been produced.
After listening to the bright, blunt and treble treble, listen to the fading and sweet treble, and most will be satisfied. However, from the perspective of listening to music, such a high pitch is not durable. Because this treble sounds boring, unmoving, slow, thin, dull and lacking in detail. These terms are used to indicate that the treble has too much performance in terms of plumpness and richness, thus lacking some vivid, airy, open and compact. If the treble is too soft, then there will be a lack of space. The music sounds dull, closed and no longer has a sense of momentum and openness.
The top-octave air of the octave describes the upward extension of the treble to an endless situation. Therefore, people have the feeling of hearing the air that exists in the music. However, as long as the speaker slightly attenuates the treble, the airiness of the octave high section is weakened, and at the same time, the sound field that has become somewhat blurred is also attenuated.
The high-pitched sound should be the same as the high-pitched sound in real music. There should be so much energy in this treble, but it is not synthetic, without particles, and should not be heard. The bad trebles that were not heard in live performances are equally unspeakable during sound reproduction. More importantly, the treble should sound an integral part of the music, rather than some separate noise superimposed on the music. However, if an audio device has some sounding during sound reproduction, then the problem is rather rounded rather than bright, because it is acceptable from the perspective of replaying music.
Mr. J. GORDON HOLT, an authoritative person who advocates subjective evaluation of audio equipment, has pointed out that if the middle sound is not right, nothing else can be said.
The reason why the midrange is so important is that most of the music energy is concentrated in the mid-range, especially for the very important low-order harmonics emitted by most instruments. The mid-range not only contains the energy of most music, but the lower part of the human ear and the high-pitched sound is also more sensitive than the high-end of the bass and treble. Specifically, the human ear is most sensitive to sounds generally ranging from 800 Hz to 3 kHz, and is even most sensitive to slight changes in volume and slight changes in frequency response. The hearing of the human ear, the softest sound that is audible, is much lower in the mid-range than on the two side frequencies. For thousands of years, the voices that people hear the most every day are the voices of people, the rustling of leaves, and the buzz of animals. The energy of these sounds is also concentrated in the mid-range. Because of the long exercise, people are most sensitive to the hearing of the intermediate frequency.
1. Acoustic staining on the intermediate frequency of acoustic staining is even more headache. When the speaker has some peaks and valleys in the mid-range of the response curve, the sound heard will be very unnatural, and the speaker's fault will be revealed in the middle band. The mid-frequency sound coloring will enhance certain sounds in the replayed music. The male voice is particularly able to explain whether the mid-range is normal. It is often judged by comparing the vowels. Some special sound dyeing will produce a squeaky sound; while a slightly lower frequency dyeing will enhance the sound of the slap; the higher-pitched sound dyeing may make a sound; other sound dyeing may Some whistling. Some mid-frequency sound dyeing is like putting your hands in a cup shape and speaking on your lips. Sometimes, sounds with intermediate-frequency sounding like this will also come out of the speakers or in the door panel.
There is also a low-end sounding of the mid-range, even those relatively expensive high end speakers are inevitable. This is the sounding of the low-frequency mid-range produced by the vibration of the speaker cabinet. The speaker will resonate at certain frequencies to excite sound energy. When excited by certain notes in the music, the speakers will resonate at these frequencies. The speaker resonance sounds like some notes "beating forward" or "listening clearly." This kind of problem will be more clearly heard when the piano is soloed. The up or down adjustment of the left key will be significantly different from the sound of other notes. These problematic sounds jump out because they have more energy, some of which are emitted by the sounding unit in the speaker (the front and rear movement of the speaker cone); while some sounds are The speaker cabinet is coming out. Some instruments have such problems, and the musicians call this phenomenon "wolf tone." This type of acoustic staining also affects the high frequencies of the low frequencies. When the amount of medium frequency is too much, it will make the performance seem to push forward, making the music feel like a slap in the face. And when there is a wide valley value on the intermediate frequency response curve (equivalent to a little too little IF energy in a wide frequency range), it will give the impression that the performance seems to be receding and farther away.
In short, if you listen to a recording with a male voice, the sound you hear is not monotonous and monotonous. It is annoying and the sound is resonating. It is very likely that there will be a peak in the frequency response of the speaker. Valley value. If you hear a sound from a single speaker, the sound coloring of this type of male voice will be more obvious. In the past ten years, the design of the speaker has made great progress.
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