Eq frequency subwoofer setting active. Setting up a car radio for high-quality music playback. Do you need a subwoofer?

The presence of a car radio, speakers and amplifier does not guarantee the ability to listen to your favorite music compositions in good quality. The car owner needs to know how to set up the radio in order to enjoy the sound to the fullest.

Features and differences depending on the manufacturer

Correct setting of the car radio is necessary so that a clear and loud melody is heard from the speakers, the speakers do not distort the sound and no additional noise is heard.

All Pioneer DEH and other 3100 and above models are configurable by changing the position of the joystick. The handle of this part of the device can rotate in all directions and go deeper into the body. This device helps you set up car radios from most companies, use the menu and find the necessary parameters in it.

Setting up the standard radio can be done in other ways. For example, in the Japanese device Clarion CP435L1 there is a hidden menu, which is called up by simultaneously pressing button 6 and turning Tune 10 clicks with the ignition on.

Setting the parameters of each model is prescribed in the instructions, which also describe the device of the radio and the functions of the various buttons.

Step-by-step setup

Setting up the radio is described in detail in the instruction manual for the 2017 Pioneer DEH-1900UB. It will be carried out in this way also when changing the factory settings of other similar devices. The exception will be processor devices, the configuration of which is more difficult.

When changing sound settings, it is important to pay attention to the following indicators:

low frequency sounds;
balance of front and rear speakers;
distribution of the sound signal between the speakers on the right and left sides.

Equalizer

Setting the equalizer on the radio helps improve sound quality, even when using a low-quality speaker system. This device helps regulate the frequency of sound.

The equalizer (EQ) can be found in the menu section called "Audio". At this point, it is not the entire sound range that is regulated, but the required frequency bands (in Pioneer radios there are 5 of them: 8 kHz, 2.5 kHz, 800 Hz, 250 Hz, 80 Hz). The frequency at which the filter gain changes is called the speaker cutoff threshold.

Pioneer car radios provide several options for standard equalizer settings and 2 sets of custom settings that the owner can create himself. Switching between these versions is done from the menu or with the EQ key.

To configure the radio yourself, you need to confirm the selection of the “Equalizer” item in the “Audio” section by pressing the joystick. By turning it, you can select the desired frequency and press the center of the knob again, setting the position in the range from -6 to +6. This will change the volume of the selected frequencies.

The consumer himself determines which sound parameters to set. There are several recommendations that will allow you to make the right choice of characteristics:

to play rock music, it is better to increase the bass volume (80 Hz) to +2;
percussion instruments sound good at a frequency of 250 Hz;
voice transmission parameters are adjustable to 250-800 Hz;
frequencies for electronic music - 2.5-5 kHz.

After completing the parameter changes, swing the knob to the left to access the main menu.

After this, the music is configured in the HPF menu item, the full name of which is High Pass Filter. It stops sound from the speakers that is higher than the set value to reduce the amount of melody distortion.

If the system does not have a subwoofer, it is better to set the HPF threshold at frequencies of 50-63 Hz. It is recommended to check the result at a volume of 30.

If you have a subwoofer, you can raise the lower threshold to 80-120 Hz and higher without degrading the sound quality.

This will cause the music playback volume to increase.

Low pass filter

Using a low-pass filter, you can configure the car radio for a subwoofer in the corresponding menu section.

It provides 3 subwoofer mode values:

The cutoff frequency of the subwoofer, which can be set at the owner’s request, in the range of 63-100 Hz.
Speaker volume on a scale from -6 to +6. It is recommended to set the parameter to the same value as when setting the equalizer.
Slope of frequency attenuation. It is better to choose the value selected in the HPF item (12 or 24 dB).

If the settings are consistent, the high and low frequencies in the melody will be balanced, and the person using the speaker system will not experience discomfort when listening to it.

Radio setup

To set up a radio in a Pioneer radio, you need to select a band, find and save the desired radio stations. This can be done in several ways:

Automatic search for radio stations. In the main menu you should find the BSM section; in it you can start a search for stations with the highest frequency in the radio range. After this, you need to save it, assigning the button value from 1 to 6 to it. Then the search for stations will continue. In the hidden menu, you can change the search step from 100 kHz to 50 kHz to expand the range of the operation.
Semi-automatic search for radio stations. If you press the Right key in radio mode, a search for stations will start.
Manual radio tuning. Pressing the “Right” button on the control panel several times while in radio mode will switch to a frequency. The found station is saved in the device memory.

Special Settings

The following functions will be useful for some car enthusiasts:

turning off Demo mode;
setting date and time;
setting up the display of traffic jams via TMC on the radio.

Demo mode is needed to demonstrate the capabilities of the device in a store environment. If you leave it, then when the device is turned off, the backlight and luminous inscriptions on the display will work.

You can disable Demo mode in the hidden menu by pressing the SRC key on the radio that is turned off. By turning the joystick handle, find the DEMO item and switch the sensor from the ON to OFF position. The BAND button is used to exit the menu.

Time and date are also selected in a hidden menu, but in the System section, where you can select 12 or 24-hour mode and change the desired indicators by turning the wheel.

Traffic displays via TMC are supported by Garmin and iGo programs. By installing one of them, you can receive information about traffic on the roads of large cities (about traffic jams, accidents, road repairs, etc.). iGo has the ability to save a list of radio stations that broadcast data of interest to the car owner. Using these programs, the display of the radio can display the route between specified points, the time of possible delays due to traffic jams, etc. To operate these applications, you need a set of iGo Primo licenses and special TMC licenses.

In order to set sound reproduction parameters in the car radio that will allow the owner to enjoy good quality music, it is not necessary to contact specialists; you can do it yourself. High sound quality can be achieved from an inexpensive audio system by correctly defining the sound reproduction parameters. Some models have the ability to install additional applications that will increase the level of comfort when traveling by car.

equalizer settings.
* 400 Hz
+ The bass line becomes clearer and more open, and the readability of instrument voices improves. The bass guitar is emphasized.
- The “cardboard box” effect is eliminated in the sound of big drums.
- The cymbals move deeper into the sound picture.
* 800 Hz
+ The bass becomes brighter, the perception of low-frequency instruments improves. The snare drum is emphasized.
- The “cheap” sound of guitars disappears: resonances and the “cute” coloration of timbre are removed.
* 1.5 kHz
+ The clarity of the bass improves and the melodic line is emphasized, the “heavy artillery” sounds deliberately expressive.
- Removes overdamping ("dull" character) of acoustic guitars
* 3 kHz
+ The bass plucking sound intensifies and becomes brighter.
+ On quiet piano parts the attack improves.
+ Backing vocals sound softer and smoother.
+ Discordant background plans are masked.
* 5 kHz
+ The effect of the presence of vocalists is noticeably enhanced when they move to the front edge of the stage.
+ Increases the attack of low-frequency instruments (drums).

+ The attack on the piano and acoustic guitar improves, the sound of the electric guitar becomes bright.
- The background sound stage moves deeper.
- The sound of thin guitar strings softens.
* 7 kHz
+ Vocal timbre becomes brighter.
+ The attack of low-frequency instruments (big drums) increases, and metallic notes appear in the sound.
+ Percussion instruments have increased attack.
+ Dull voices come to life.
+ Emphasizes the “sound of fingers” on acoustic bass.
+ The sound of synthesizers, electric and acoustic guitars, and piano becomes bright and emphasized.
- The reproduction of sibilant consonants in vocals is softened.
* 10 kHz
+ Vocal timbre becomes brighter.
+ The timbre of acoustic guitar and piano is brightened.
+ The sound of cymbals becomes harder.
- Hissing consonants in the voices of vocalists are softened.
* 15 kHz
+ The timbre of the vocalists’ voices becomes brighter, and the emotional component stands out.
+ Cymbals, stringed instruments and flutes sound brighter.
+ Synthesized sounds become more realistic.
Here are a few general characteristics that can guide you when equalizing certain instruments:
Frequencies below 100 Hz make the sound more massive and perceptible, but can also make it boomy.
Frequencies between 100 and 250 Hz can add fullness to the sound.
Frequencies around 400 Hz produce a rougher sound.
Frequencies between 600 and 800 Hz add depth and fullness to the sound.
Frequencies between 1 and 2 kHz can increase the attack of the sound and indicate the kick of the drum.
Frequencies from 2 to 4 kHz make the instrument sound closer and enhance the effect of presence.
Frequencies between 5 and 7 kHz make the instrument sound sharper.
Frequencies from 10 to 18 kHz add transparency and airiness to the sound.
Vocals
To create fullness, you can raise the frequency of 150Hz by 2-3dB.
To improve intelligibility, add a little at 3kHz.
To increase the effect of presence, add a few decibels at a frequency of 5-6 kHz.
If there is whistling in the vocals, then you need to reduce the gain between 7 and 10 kHz.
For brightness and transparency, raise the level above 12kHz.
Electric guitar
There are a huge number of equalization options for this instrument, each of which suits a specific sound. The main thing here is to experiment more. But I will still give some general advice.
To eliminate the dull sound of an electric guitar, you need to attenuate the signal at frequencies below 100Hz.
Boosting frequencies from 120 to 250Hz will add warmth to the sound.
Boosting frequencies from 2.5 to 4kHz will emphasize the attack, while boosting 5kHz will add brightness.
Acoustic guitar
An acoustic guitar sounds better if you lower the frequency a little from 80Hz and from 800 to 1kHz.
If you want a warm and full tone, you can try boosting 150 and 250Hz.
Add a few decibels between 3 and 5 kHz if you want to emphasize attack and percussion.
Adding a few decibels at 5kHz will brighten the instrument.
Bas-guitar
It is very important to always remember that the bass guitar and kick drum operate in close ranges, so you need to try to make both instruments clearly audible. You need to adjust the frequencies to provide each of them with their own space. As a rule, the bass guitar cuts out those frequencies that are raised by the kick drum. Drums
To reduce the cardboard sound of the bass drum, I recommend cutting a little between 600 and 800Hz.
To emphasize the click of the beater, raise the frequencies from 2.5 to 5 kHz.
When processing a snare drum, a boost of 3 to 5kHz emphasizes the attack, while a boost of 10kHz adds crunch to the sound.
For a tom-tom, a slight gain in the band from 200 to 250 Hz is recommended.
Cutting frequencies below 200Hz allows you to get rid of the noise of other instruments when recording a live hi-hat.
If the cymbals sound unclear, cut a few decibels in the 1 to 2 kHz band.
High-pitched percussion instruments, such as shakers, sound good if you boost the high frequencies (above 10kHz) a little. This will give the sound brightness and softness. You can cut all frequencies below 500Hz to eliminate the harshness that can sometimes occur when the microphone is placed too close when recording.
but in general the equalizer should be set to flat

Topic status: Closed.

Equalizer settings
Equalizer settings. Features of frequency response.
Equalizer- wide-range correction device for adjusting the frequency response of audio signals.

Part 1
A little history
Born in the 30s, equalizer is the oldest and most commonly used method of sound processing by sound engineers. Today on the market there are enough different devices for timbre correction: from a simple low-frequency corrector of the 50s to a sophisticated multi-band equalizer with perfect parameters. At its core, an equalizer consists of several electronic filters that allow you to change the amplitude-frequency characteristics of an audio device. Over the past half century, equalizer circuitry has improved tremendously in an effort to meet the increased demands of the audio industry.
Understanding the essence of timbre correction and its impact on the audio signal
Let us dwell on the explanation of two areas of application of the equalizer, namely the voice and its musical accompaniment. I want to discuss the different spectral components of sound: what they do to the sound itself, and how we perceive it. Why is the sound sometimes harsh or muddy? Why can't we sometimes understand the lyrics of a song? Let's find answers to these questions and, in general, bring at least a little clarity to the mystical world of equalizers.
Vocals
The vocal base region is located in a rather limited part of the spectrum - approximately between 125 and 250 hertz. The basis allows us to determine who exactly is speaking, and therefore, its correct transmission is an integral part of high-quality sound.
The vowels that conduct the greatest vocal energy occupy the band 350 to 2000 hertz. Consonants, located in the area from 1500 to 4000 hertz, have little energy, but are the main component of voice intelligibility.
For example, the region from 63 to 500 hertz accounts for about 60% of the total energy of the voice, but it only affects intelligibility by 5%. The 500 - 1000 hertz region provides 35% of the intelligibility, while the 1 to 8 kilohertz range accounts for 5% of the energy and 60% of the intelligibility.
By reducing the level of components of the low-frequency part of the spectrum and increasing the level in the range from 1 to 5 kilohertz, you can significantly increase the intelligibility and clarity of your voice. Here are some possible consequences of rough timbre interference in the sound:
raising the frequency response in the area of 100 - 250 hertz makes vocals booming;
cutting out a section of 150 - 500 hertz creates emptiness and unfoundedness;
a decrease in the level in the area from 500 to 1000 hertz entails excessive rigidity;
raising the part of the spectrum around 3 kilohertz carries a harsh metallic twang;
reducing the gain in the band from 2 to 5 kilohertz leads to a general decrease in intelligibility, making the sound lifeless;
Raising the area from 4 to 10 kilohertz leads to whistles and the appearance of “sonic sand”.
Consequences of vocal timbre correction
In all cases, for confident tone control, it is best to use an equalizer with adjustable parameters.
80 - 125 hertz
Adding sensuality to singers singing in the bass register.
160 - 250 hertz
Sound basis.
315 - 500 hertz
Very important for quality sound.
630 - 1000 hertz
Important for natural sound.
Excessive elevation results in a "telephone sound".
1250 - 4000 hertz
Vocal articulation, performer's style.
5000 - 8000 hertz
Very important for legibility.
1250 - 8000 hertz
Gives purity and clarity.
5000 - 16000 hertz
Excessive amplification results in a loose, whistling sound.
Increasing the level too much in the area of 200 - 400 hertz leads to masking of consonants such as “m”, “b”, “v”. Too much increase in level in the range of 1000 - 4000 hertz leads to rapid hearing fatigue. Vocals can be slightly brightened by raising them around 3 kilohertz, while simultaneously reducing the gain at the same frequency for all accompaniment instruments.
Tools
Mixing instruments is a real art, and the sound engineer has to turn to the equalizer more than once before he finds the sound he needs. Many instruments have such a powerful and rich sound that it is almost impossible to convey it with a close microphone. This is where the equalizer comes to the rescue, the main purpose of which is to bring this sound to us in its most natural form.
The clarity of the sound of many instruments can be greatly enhanced by emphasizing their harmonics. Our ear hears them even in the lowest sounds with a seemingly narrow spectrum. Drums are one such instrument where the brightness of the sound can be greatly enhanced by simply reducing the gain at the lower end of the spectrum, thereby emphasizing the existing harmonics in the sound. Here are some thoughts on what exactly some of the frequencies do to sound and what it makes our ears feel.
31 - 50 hertz
Give the music power and energy.
If they are emphasized too much, the sound may become cloudy and dull.
They also mask some harmonic components.
80 - 125 hertz
When they are raised excessively, a boom effect occurs.
160 - 250 hertz
A common problem with most mixes.
Excess deprives the phonogram of power, but they still
necessary for the “warm” sound of the phonogram.
160 hertz is the most annoying frequency.
This is also where the sound basis of the bass guitar and other bass instruments is located.
300 - 500 hertz
This is where the sound base of strings and percussion instruments is located.
400 - 1000 hertz
Fundamentals and harmonics of strings, keyboards and percussion.
Here is the most important area responsible for natural sound -
This is where the voice of the instrument is located.
Excess leads to a trumpet-like sound.
800 - 4000 hertz
This is the most suitable area to highlight the tool
or slightly warm up its sound.
Excess leads to rapid aural fatigue.
1000 - 20000 hertz
Excess leads to a noticeable thinning of the sound.
4000 - 10000 hertz
The intelligibility area of percussion, cymbals, and snare drums.
5000 hertz
Responsible for transparency.
Excess adds some distance to the sound.
8000 - 20000 hertz
Very often the concept of recording or mix quality is associated with it.
This is where the source of the mix's depth and the purity of its atmosphere lies.
Excess leads to a shrill and brittle sound.
And here are a few more comments about the formation of the frequency response, but this time regarding different instruments. When working with live sound, I even set these equalizer values before soundcheck - this saves time on tuning. But don't put too much emphasis on this - it's nothing more than a starting point, it's just convenient to start with.
Bass drum: In addition to the usual cutting of the region from 200 to 400 hertz, a narrow band of the spectrum in the region of 160, 800 and 1300 hertz is usually cut. This frees up space for the sound foundation of the bass guitar and the music in general. I've also found that applying high-pass filtering as low as 50 hertz can thicken the bass drum sound, leaving just the right signal for your compressor to work with musically. Rise 5? 7 kHz for a distinct click.
Snare Drum: This is one instrument whose sound can be easily muddied by too much bottom end. Frequencies below 150 hertz are never used to produce modern sound. I can suggest the same high-pass filter to suppress them. Most snare drum models only require cutting a few frequencies. Start with 400 hertz, 800 hertz and some 1300 hertz. Exactly, start, it’s not at all necessary that you have to turn them all. If the snare is sticking out too much in the mix but you don't want to change its level, bumping up a little at 5kHz will push it out a bit, and then compensate with a slight boost at 10kHz.
Hi-hat: The low end of the spectrum contains very little information about the sound of the hi-hat. Using a high-pass filter with a cutoff frequency of 200 hertz can clear the sound of unwanted dirt. The main frequencies in the sound of a hi-hat are in the range from 400 to 1000 hertz, and especially 600 to 800 hertz. To clarify the sound, it is enough to raise the frequency response in the area above 12500 kHz.
Toms and floor toms: require cutting out a region from 300 to 800 hertz. In addition, the region below 100 hertz carries virtually no timbral information, but only masks useful harmonics and distorts the natural sound of toms.
Bass guitar: requires the presence in the spectrum of those frequencies that need to be eliminated when working with other instruments. In particular, in the region of 800 hertz there is an area responsible for the purity of the bass guitar sound. Too much lower end can mask the clarity of the bass line. I've heard it said that the best way to find a bass guitar sound is to cut everything below 150 hertz, shape the sound you want in the middle of the spectrum, and then gradually bring the bottom back until the core of the sound is back. until it begins to mask the area of purity. Imagine the frequency response in the form of a picture. If the level of the low-frequency component is too high, the sound will be booming and opaque, with the high-frequency harmonics masked. It is the use of an equalizer that allows you to avoid such mistakes.
Guitar, piano, etc. have a basis in the mid-frequency region. However, reducing the gain in the low-frequency region of the spectrum where unused low-frequency harmonics are located is not a good idea. Even if you feel that you can't definitely hear in the low-frequency region, what is there is still present in the mix and plays some role.
The sounds of the above-mentioned instruments in the low-frequency part of the spectrum provide what is usually called support. The timbre itself is formed in the region of the middle 400 and 800 hertz at the bottom and from 1000 to 5000 at the top. Anything over 5 kilohertz only adds transparency and clarity.
Remember to control the range of instruments in relation to each other. For example, is the bass drum or piano or cymbals sounding brighter than the vocals?
Part 2
Equalizer
Equalizer is the most used device in the audio industry. Only by understanding its essence can an audio engineer competently manage it and get the result he wanted. The key to understanding the essence of timbre correction is understanding HOW to achieve the result you need. It is equally important to know the features of the microphones used or possible problems associated with their placement. An equalizer is not a panacea, it cannot correct errors, it just helps highlight the signal with which you will work further. It copes much better with the task of cutting off unnecessary things than with the task of isolating something from a signal that does not exist in it.
Low Frequency Correction
Equalization is the most widely used, most in demand, most (think for yourself) type of sound processing device. In addition, it is also the most powerful. By definition, an equalizer (or car equalizer) is a device for controlling the signal level in a particular frequency range. I spent a lot of time studying equalization, sitting with a graphic equalizer and a sea of different soundtracks. After thirty hours of listening to how changes in frequency response affected the sound, I began to hear the effect of EQ in a wide variety of mixes, and since I started mastering, this has become a direct guide to how to use EQ.
Exercises like this are good for the very early stages of mastering equalizing. They are quite widely represented on special CDs, although, of course, nothing can replace a simple ON/OFF button on the equalizer.
The next step in mastering equalization techniques is to apply specific equalization to a particular instrument. For equalization, certain key frequencies are used, and it should be possible to compare the sound of the instrument with or without an equalizer, and all this both in solo mode and in the overall mix.
The purpose of these exercises is to train the ear to accurately determine what changes in frequency response are necessary for each individual mix. While some gain the ability to truly hear frequencies as a result of these exercises, others gain only a limited ability to use equalization correctly.
Frequency ranges
The key to understanding equalization is to understand exactly how changes in different frequency ranges affect a mix or an individual instrument.
Low frequency range
Covering one and a half octaves from 80 to 250 hertz, this frequency range determines the fatness and fullness of the sound. Equalization is usually applied at frequencies of 100 and 200 hertz.
Frequencies in this range add solidity and fullness to the sound of bass and guitar. Excessive levels create a droning, dirty sound. Frequencies in this range are highly susceptible to the Fletcher-Mewson effect, meaning you need to listen to your mix both at high volume levels and at low volume levels, at the limit of audibility, in order to maintain the correct frequency balance of the mix. While frequencies around 50 hertz will produce a cohesive bass/kick drum sound, the guitar will sound thick and fat without causing any muddy effects. Reducing the frequency level around 100 hertz will cause a difference between the sound of the guitar and bass guitar and, as a result, their parts will sound separate. The lowest fundamental frequency of a guitar sound is located around 80 hertz.
For vocals, frequencies around 200 hertz determine the fullness and richness of its sound. The level of frequencies in this range can be reduced to increase vocal intelligibility. However, if changes have been made to the frequency response of the vocal path in the higher frequency range, resulting in a loss of sound solidity and the appearance of a thin sound effect, a slight increase in gain at 200 hertz will help restore the fullness of the sound. If, when processing the sound of instruments, the gain at 100 hertz was reduced in order to avoid the appearance of a crumpled sound (some notes are at the limit of audibility, while the rest merge into incomprehensible noise), a slight increase in the level at 200 hertz allows you to compensate for this and return sound solidity. The guitar and bass guitar have almost the same energy at the frequency of their sound base and its second harmonic, and in this regard, very often their sounds merge and the parts become difficult to distinguish. In this case, reducing the gain by 100 hertz and increasing it slightly by 200 will restore note intelligibility.
50 hertz
1. Increase to add fullness to instruments sounding in the low-frequency part of the spectrum - bass drum, toms and bass guitar.
2. Reduce to avoid the appearance of a boom effect and masking of higher harmonics and increase the readability of bass parts. Typically used in music with an active bass line, such as rock music.
100 hertz
1. Increase to add harshness to instruments sounding in the bass register.
2. Increase to add fullness to the sounds of guitar and snare drum.
3. Increase to add warmth to piano and brass instruments.
4. Decrease if you need to remove the drone from the guitar sound and increase its intelligibility.
200 hertz
1. Enlarge to add fullness to the vocal part.
2. Increase to add fullness to the sound of the snare drum and guitar (used in hard music).
3. Reduce to avoid the muddy sound of instruments sounding in the mid-frequency range.
4. Reduce to avoid the gong-like sound of the cymbals.
400 hertz
1. Increase to add clarity to the bass line, especially when listening at low volumes.
2. Reduce to avoid the cardboard sound of low-sounding drums (toms, bass drum).
3. Reduce to emphasize the volume of the sound of the cymbals.
800 hertz
1. Increase for a clear and powerful bass guitar sound.
2. Reduce it to get rid of the cheap sound of guitars.
1.5 kilohertz
1. Increase to emphasize the attack of the bass guitar and its harmonics.
2. Reduce to avoid the sluggish sound of electric and acoustic guitars.
3 kilohertz
1. Enlarge to emphasize the attack of the bass guitar.
2. Enlarge to emphasize the attack of electric and acoustic guitars.
3. Increase to emphasize the attack of the piano part played in a low register.
4. Increase to emphasize the clarity and harshness of the vocal part.
5. Reduce to emphasize the breathiness and softness of backing vocal parts.
6. Reduce if necessary to mask harmonic discordance on vocals or guitars.
5 kilohertz
1. Increase for vocal intelligibility.
2. Enlarge to emphasize the attack of low-sounding drums (bass drum, toms).
3. Increase for a more finger-like bass guitar sound.
4. Enlarge to emphasize the attack of pianos, acoustic guitars and the brightness of guitar parts (especially rock guitars).
5. Reduce to make the parts playing in the background sound more distant.
6. Reduce to soften the sound of guitars.
7 kilohertz
1. Increase to get attack on low sounding drums (more metallic sound)
2. Increase to get the attack of the percussion instruments.
3. Increase when working with sluggish vocals.
4. Increase for a more finger-like bass guitar sound.
5. Decrease to reduce the energy of sibilant consonants.
6. Increase to add sharpness to the sounds of rock guitars, synthesizers, acoustic guitars and pianos.
10 kilohertz
1. Increase to lighten vocals.
2. Increase for a light, transparent sound on an acoustic guitar or piano.
3. Increase to emphasize the harshness in the sound of the cymbals.
4. Decrease to reduce the energy of sibilant consonants.
15 kilohertz
1. Increase to lighten vocals (breathy sound).
2. Enlarge to brighten cymbals, strings, flutes.
3. Increase to make the sampler synth sound more natural.

Correct sound reproduction on a PC is one of the most important conditions for comfortable work and leisure activities. Adjusting sound settings can be difficult for inexperienced users; in addition, components often malfunction and the computer becomes mute. In this article we’ll talk about how to customize the sound “to suit you” and how to deal with possible problems.

The sound can be adjusted in two ways: using programs specially designed for this or a system tool for working with audio devices. Please note that below we will talk about how to adjust the parameters on the built-in sound cards. Since discrete ones may come with their own software, its configuration will be individual.

Method 1: Third Party Programs

Sound tuning programs are widely available on the Internet. They are divided into simple “amplifiers” and more complex ones with many functions.

Method 2: Standard means

The built-in system audio setup tool doesn't have phenomenal capabilities, but it is the main tool. Next, we will analyze the functions of this tool.
You can access the settings from "Taskbars" or the system tray, if the icon we need is “hidden” there. All functions are called by right-clicking the mouse.

Playback devices

This list contains all devices (including those not connected, if they have drivers in the system) that are capable of playing sound. In our case it is "Speakers" And "Headphones".

Let's choose "Speakers" and press "Properties".

Here on the tab "Are common", you can change the device name and icon, view information about the controller, find out which connectors it is connected to (directly on the motherboard or front panel), and also disable it (or enable it if disabled).

Note: If you change settings, do not forget to press the button "Apply", otherwise they will not come into force.

Tab "Levels" contains a master volume slider and a function "Balance", which allows you to manually adjust the sound strength on each speaker individually.
In chapter "Enhancements"(incorrect localization, the tab should be called "Additional Features") you can enable various effects and adjust their parameters, if provided.

Please note that enabling any of the effects described above may cause the driver to be temporarily disabled. In this case, rebooting the device (physically disconnecting and plugging the speakers into the connectors on the motherboard) or the operating system will help.

On the tab "Additionally" You can configure the bit depth and sampling frequency of the reproduced signal, as well as the exclusive mode. The last parameter allows programs to reproduce sound independently (some may simply not work without this), without resorting to hardware acceleration or using a system driver.

The sampling rate must be set the same for all devices, otherwise some applications (for example,) may refuse to recognize and sync them, which results in no sound or the ability to record it.

Now let's press the button "Tune".

For headphones, only the settings contained in the block are available "Properties" with some changes to the functions on the tab "Additional Features".

Defaults

Defaults for devices are configured as follows: on "Default Device" all sound from applications and OS will be output, and "Default communication device" will be turned on only during voice calls, for example, in (the first in this case will be temporarily disabled).

Recording devices

Let's move on to recording devices. It's not hard to guess what it is "Microphone" and perhaps more than one. It could also be as simple as "USB Device", if the microphone is in the webcam or connected via a USB sound card.

If you press the button "Tune", then we will see a window with an inscription stating that “speech recognition is not provided for this language.” Unfortunately, today Windows tools cannot work with Russian speech.