GUITAR SPEAKER TONE CENTER
ANTHONY “BIG TONY” LUCAS
Optimizing Mids and Highs
Figure 1
Figure 2
Figure 3
We pick up where we left off last month with
more tips on the specifications and characteristics you should consider when choosing
appropriate speaker upgrades. Last month I
discussed typical comments I hear from players related to low-end. We discussed speaker
characteristics that affect low-end and how
to improve it. This month we’ll do the same
for mids and highs. Next month, we’ll look
at speaker break-up modes. As I stated last
month, I challenge you to listen to your current speaker(s) more crucially, and determine
specifically what you want to change about
your tone.
The way a speaker delivers the mids is an
important key in achieving good tone. I receive
too many different comments about mids to
list, but I can give you some ideas on what to
look for and compare. Guitar speakers generally have similar frequency responses (figure 1).
They rise steadily until about 1kHz. They have
a suck-out around 1.5kHz. They peak at 2kHz
and extend out to 4kHz-5kHz. Granted, the
response is a measurement of the fundamental
and doesn’t account for harmonic content,
which creates interest, detail, complexity and
fullness. However, the response curve is a
good starting point and can give us some clues
before hearing the speaker. If you’re looking
for a scooped (or lack of mids) sound, find a
smiley face-type response between 300Hz and
1kHz (figure 2). If your mids sound too forward
and aggressive, you will need less of a peak
around 1kHz and a wider, deeper suck-out
between 1kHz - 2kHz (figure 3, blue curve).
To improve the definition of your mids look
for more energy around 1kHz (figure 3, red
curve). Our ears interpret wider, flatter areas
as warmer and smoother, while peaks and dips
sound more forward and aggressive (figure 4).
This could be good or bad, depending on what
you want.
A frequent concern I hear about highs is, “My
highs are too ice-picky or harsh and thin.” As
discussed last month for improving lows, consider a larger voice coil, which will also eliminate unwanted highs. The low-end increases
while top-end extension decreases.
The dust cap is a key contributor to the top-end response. A small dust cap, assuming it is
also lighter, will produce higher sensitivity and
more extension. To subdue that
