I know about hearing range for humans as follow:

OK. So I have a question about Maag Audio EQ4.



40KHz ??? Is It a joke? Has it been thinked for Superman??? Am I stupid or is there something I don't know?

 

Last edited: Aug 14, 2015

The Maximum Human Range is Between 16 Hz Or 20 Hz TO 16 KHz Or 20 kHz
And That Range it depend on the human age
Maag Audio EQ4 Has no 40 KHz , all I can See is 40 Hz

 

@ Mr_Amine

Look at the AIR BAND knob (Off, 2.5, 5, 10, 20, 40) KHz...

 

The airband has a wide q, so as you start turning it you quickly start adding a little 20k as well, and if you crank it, it probably even reaches down to 10-15k.
Then theres the harmonics - supposedly, frequencies higher than what we can hear can cause lower harmonics that do affect the sound.

Anyways I like what it does so I don't question the eq gods.

I also assume this is why some monitors like Adams have a frequency response up to 35khz, though that might just be over designed to be a safety factor (if we can get 35k to be near flat, then 20k HAS to be flat).

 

Nah Man that 40KHz Isn't for us
they made that range for those Who Lives outside the earth (I MEAN 40 KHz For ALIENS ONLY)
Aliens Use The 40 KHz To Send Encrypted Messages To Other Aliens
So Humans Not Allowed To Reach To That Range For Alien Security Reasons
Because It's Alien Classified Thing LMAO

 

Last edited: Aug 14, 2015

Many great mixing engineer like Dave Pensado and Eric Valentine mentioned "THE FEEL" I also found it a bit wierd... because they said that ... cutting all freq below 20hz bla bla... dont give you that "Fell" in some if their videos...probably I think its more like the energy ... I dont know...

 

Of course there is the element that there is no sound outside of the human body...the brain translates pressure data into sound...the brain creates the illusion of hearing....as a person that also experiences paranormal experiences I often times 'hear' sounds that don't come from my surroundings...most sound engineer types aren't that advanced when it comes to sound so people like me have to do a lot of pretending LOL

 

It's called air band for a reason. Voodoo band was also on the table but thrown over by the marketing dpt.
@Mr_Amine what's up with your formatting? It doesn't help reading...

 

Mäag EQ's air band is a high shelving EQ. If you set it to 10kHz, the slope actually starts at 1kHz (due to the slope/low Q-value), but you start to "hear the changes" around 10kHz when you boost, basically. If you set it to 40kHz the slope starts higher, around 3-4k but you start to hear the "above 10kHz frequencies". That's basically it.

It's about the slope of the high shelving filter. It has nothing to do with "but we can't hear ultrasound (frequencies above 20kHz)"...or "oh, lets turn it up so the track annoys potential dogs".

Even though we can percieve ultrasonics (as well as infrasound, visual light, alfa-, beta-, gamma-rays, etc...but that's a whole other topic).

 

Last edited: Aug 14, 2015

well for me, its good they include extra range because I seem to be def in the ranges 165 to 225 Hz. the exact range of my wifes voice

 

Below 20Hz is just useless information and it also eats up headroom. There is no "feel" down there.

Also, cutting everything below 20-30Hz also eliminates DC-offset - something that outboard gear/synths/amps/etc might emit and end up screwing with your outboard gear/plugins/sound.

 

Is your "wife" a male, all gagged/taped up in the closet?

 

wikipedea range of spoken voice. must be true because I hear her just fine when here voice reaches the 3400 Hz range

 

You guy's!

 

Actually there aren't many EQ VSTs that would allow precise manipulation with supersonic bands, which is a bummer
Maag EQ4 is one of very few, together with Pro-Q. Goldwave's internal one process up to 100kHz.

 

This is way cool https://en.wikipedia.org/wiki/Infrasoud about sound below 20 hertz

And this http://www.cco.caltech.edu/~boyk/spectra/spectra.htm about sound above 20k.

 

I agree what you are saying..but its not me saying..its grammy award wining mixing engineering saying! :D I AGREE with you tho..

 

Maybe he has a 0-20Hz buttplug SuBassRectum™ BassAnalProbe™ inserted for every session he works on.

(I'll check that episode of Pensado's Place. Thanks!)
Edit: Couldn't find the things you mentioned that Eric Valentine said about infrasonics (neither in #18 or #141). Please be more specific.

Intresting, especially #18 when he guides through his studio.

 

Last edited: Aug 14, 2015

There is a difference between the ability to detect pitch above and below certain frequencies, and the ability to "feel" the pressure above and below certain frequencies. You can use a tone generator within your DAW to generate pink noise, insert an EQ that has at least a 96 or brickwall slope with a low pass that rolls completely off before 20Hz. From that point boost only the output level using as many instances of the EQ as necessary until you not only see.. but "feel" the pressure of what you don't hear. (Don't go crazy and blow your monitors with this one. You can easily feel the smooth pressure on the cones when you are near 0db) This works in the above 20kHz range as well. In questioning the point as to whether it is useful for mixing/mastering I can only say that I have used it to my advantage to add weight to a bottomless mix, or add weight to the top of a mix with thin and irritating highs. To best explain my implementation of it.. it is inserting inaudible RMS level to the top or bottom of a mix to balance just that. For example, if you use an inaudible signal above 20kHz and push it to the max it will flatline the RMS level of any mix and retain far more of the perceived dynamic range than a compressor/limiter because it doesn't touch the audible frequencies in the mix.. in this case the loudest instrument in the song is a constant inaudible pressure and thus forces unity within the overall bandwidth. However, I prefer to use a gate to trigger the pressure rhythmically from either end.

 

Last edited: Aug 14, 2015

Also, in Robert Harley's 'The Complete Guide to High-End Audio' book, there's a part explaining why many people in the hi-fi world don't think 44.1 khz isn't enough sample rate for great audio -even though > 20khz sounds are not audible, studies suggest that we can feel the difference between transients that contain information above hearing level along with the sound below 20khz. I'll find and quote if needed, I hope this is clear enough.

edit: here it is:

"Very high frequencies imply a steep attack; the ear/brain can reportedly detect the
difference in steepness of a signal with a bandwidth of 20kHz and one of 40kHz, according to HDCD’s inventors (and many others). The bandwidth of an audio system implies how quickly it can respond to musical signals. Earlier in this chapter I described a subwoofer, a low-bandwidth device, trying to reproduce the attack of a snare drum. The woofer simply can’t move fast enough to accurately reproduce the steep transient of the drum’s waveform. That’s exactly what happens when we record music with a bandwidth of only 20kHz. The 20kHz bandwidth digital audio system simply can’t encode the parts of the music that quickly change in intensity. The musical result is a closing-in of the sound and a reduced ability to pinpoint the positions of instruments. Experiments have shown that our ears and brain use that steep transient information as directional cues. Moreover, limiting the speed of musical signals changes their timbre. For example, the component of an oboe’s sound that includes the tiny “clicks” of the vibrating reeds disappears. We don’t hear this as distortion, but as a dilution of realism. This is one reason that a live oboe has a vitality and presence we don’t hear from a standard-resolution digital reproduction of an oboe. Because the CD’s bandwidth isn’t wide enough, instrumental timbres are changed, along with their directional cues."...
​

 

Last edited: Sep 3, 2015