Sentences with phrase «lows on bass»

The drums on this track are often embellished with added deep lows on bass - forward earphones, but here, while they get a solid sense of low - mid attention, the drums aren't remotely thunderous.

The drums on this track can often sound overly boosted in the lows on bass - forward headphones, but the No. 8 avoids this pitfall.

It was easy to hear the snappy snares and synths of Childish Gambino's «3005,» but the song was low on bass and sounded canned at full volume.

Not exact matches

Though I'm not one who needs a lot of bass to enjoy my music, I did appreciate how the built - in subwoofer captured the lower frequencies of some of the more bass - heavy songs on my playlist.

Too much time is squandered on weaving back and forth through the twists of the political scandal, with more than enough shots of Crowe walking hurriedly in time to an edgy bass - heavy soundtrack, his head lowered, his brow furrowed as he thinks Really Big Thoughts.

Although the pitch depends on the number of times per second the vocal cords collide — ranging from as few as 55 times per second for a low A sung by a bass, to 1,047 times per second for a soprano's high C — the refinement and articulation of the musical notes take place in the singer's throat and mouth.

It sounds like a crazy way to improve your health — spend some time on a platform that vibrates at about the same frequency as the lowest string on a double bass.

It provides surround sound from five main channels plus nondirectional low frequencies for reproduction by bass loudspeaker «woofers» on a sixth channel.

«It looked like a chirp, it looked at something that started at low frequencies — for us low frequencies means 20 or 30 hertz, that's like the lowest note on a bass guitar, sweeping very rapidly up over just a fraction of a second... up to 150 hertz or so, sort of near middle C on a piano.»

Lower frequencies sound louder when transmitted through solid objects (like bones) than they do through the air, so the bones in your head act like the bass control on your audio system.

While bass was a little underwhelming, both the highs and the lows on Kool and the Gang's «Summer Madness» came through without any distortion, even with the volume cranked.

Use the EQ button on the right ear cup to enable bass boost and that audio balance is tilted towards the low - end, which comes into its own when playing explosion - heavy titles such as Titanfall 2.

The company says these in - ear headphones raise the bar for sound quality, providing lower distortion, superior bass response, and a wider soundstage than any other in - ear on the market.

Having a bass boost is a good thing for headphones intended to be used on the move, as external noise tends to quieten the low end — which is why I consider Zero Audio's tuning so on point.

Cueing up The Avengers on our tablet, we engaged the «D. Surround», which expanded the soundstage and added some power to the lower midrange and bass.

You get a completely waterproof IPX7 fabric covering the speaker and dual passive radiators on either end which help pump out a little more low end for your bass - lovers out there.

On tracks like Marcus Miller's «Mr. Pastorius», Miller's tone would simply disappear as he would glissando (slide) toward the lower end of his electric bass.

On the back you'll find a small, exposed passive - bass radiator that adds some extra power to the low - end, and at average volume, you can squeeze out about 15 hours of constant playback, which isn't too bad.

Above the glowing bases on the right speaker are two knobs - one that controls the volume and the other that raises and lowers the amount of bass response.

The bass response on the HomePod was great — low - end notes on songs such as «Summer Madness» by Kool and the Gang and «Shape of You» by Ed Sheeran rang through clearly and cleanly, even at higher volumes.

Bottom Line: The JLab Retro Wireless headphones are a Bluetooth take on the iconic»80s Walkman staple, with big bass and a low price.

On tracks with intense sub-bass content, like The Knife's «Silent Shout,» the earphones deliver thunderous low frequency response that will appeal to bass fiends.

Beyerdynamic Aventho Wireless: The Aventho pair sounded really good right out of the box; the bass was a smidgen bloated, so low notes or kick drums could lack definition on attack and decay.

Those who like a punchy low - end can use the «extra bass» button to boost the bass frequencies, which sounds great on tracks that need that driving subwoofer sound.

The bass boosting will excite people who enjoy a bit more low frequency presence, but Jabra definitely keeps the spotlight still firmly focused on the high - mid and high frequencies, like the higher register strings, the brass, and the vocals.

On bass - heavy speakers, this song can sound particularly dense or muddy, but on the e10, the crisp mids and highs and subtle lows highlight the mix's clarity and makes things a bit more airOn bass - heavy speakers, this song can sound particularly dense or muddy, but on the e10, the crisp mids and highs and subtle lows highlight the mix's clarity and makes things a bit more airon the e10, the crisp mids and highs and subtle lows highlight the mix's clarity and makes things a bit more airy.

As for those black bases the metallic towers sit on, each houses a 3 - inch low frequency driver and a passive radiator, which helps add a little extra bass presence.

The drums, which on bass - boosted earphones can sometimes sound unnaturally heavy, are delivered with a sense of low - end depth through the X12i, but nothing that's wildly exaggerated.

The headphones really deliver on the low end, with tight, deep bass frequencies.

As mentioned, the Towers are split by a 3.5 - way crossover setup, designed to allow them to punch with authoritative rigidity in the lower bass, yet glide smoothly into the lower midrange on the way to the upper registers.

Callahan's rich baritone vocals get just the right amount of low - mid presence — often, this is overdone on bass - forward headphones as well, but here, the vocals don't sound overly rich.

On orchestral tracks, like the opening scene in John Adams» The Gospel According to the Other Mary, the higher register strings, brass, and vocals retain their higher frequency edge and own the spotlight, but the bass response nicely complements them, bringing certain aspects of the lower register instrumentation a bit more to the forefront.

If you are not familiar with the EQ knobs, note that the sliders on the left are of the low - end and bass adjustments and sliders on the right are for high - end and treble adjustments.

The guitar strums sometimes sound brighter than they do on other pairs, and Callahan's vocals sometimes sound more crisp — this sound signature, even with the bass at low or medium levels, is a lows - and mids - forward affair, with a little less crispness and brightness in the higher frequencies.

The drums on this track can sound unnaturally thunderous on bass - boosted earphones, but through the Zn, they have a vibrant low frequency presence that is certainly boosted, but is not over the top.

So when you want to keep the bass effect low or want the drum to dominate, you can use an equalizer to control audio levels on HomePod.

The lower of the two mid / bass drivers handles bass frequencies only, while the radial ribbing on the surface of both anodised aluminium drivers helps improve their efficiency.

On tracks with intense sub-bass content, like The Knife's «Silent Shout,» the earphones deliver powerful low frequency response — the type of thumping bass we often associate with exercise - focused earphones.

The claimed frequency response extends down to 40Hz on the low end (extending to 18kHz up top), and the default setting is fairly bass - heavy.

There's no hint of distortion, crackle or speaker drop out even when you push the K850 way harder than your ears will be comfortable with, and provided you are (very) careful with the subwoofer's settings, bass hangs on fairly tightly to the lower end of the mid-range delivered by the soundbar.

With the bass effect off, the drums on this track still pack a strong low frequency presence, as do Callahan's baritone vocals.

They have a Bass Effect button that boosts the lows dramatically, but the headphones deliver a notably bass - forward listening experience even without it turned on.

The low - end on this player is deep and powerful, without adding any annoying bass bumps you might expect from consumer headphones or music players.

I played the more bass - heavy «Drug Dealers Anonymous» to test my low - end theory, and while Pusha T and Jay - Z's vocals were crisp and acerbic on the track, the bass was a more subtle player.

There's a gain switch toggle on the side which allows you to set low or high values, next to a «Bass +» toggle that does what the label implies: boosts the lows a little bit to accommodate those who prefer a bass - ier listening experience.

The clean low end also served the warm upright bass tones heard on jazz recordings such as Freddie Hubbard's Dedicated To You extremely well, with each pluck of the strings coming through clearly in the musical image.

Audio is pumped out of the single 5 magnet speaker on the lower edge, and it can go pretty loud, but bass definition is definitely its weakness here.

The drums on this track don't sound unnaturally bass - heavy as they can on pairs that do too much boosting; they instead have a strong sense of lows without going overboard.

To deliver deeper bass performance, the DB10 is equipped with a front firing driver that offers longer excursion and controlled linearity, ensuring that the lowest frequencies are consistently heard on every track down to 20Hz without any unexpected roll off.

The drums on this track can sound overly thunderous on bass - forward headphones, but this pair doesn't boost the lows so much that this occurs — in fact, the drums sound fairly restrained as far as bass response is concerned.