BASE -LINE PIN
ineras.squig.link/303540455055606570758085dB20Hz30405060801001502003004005006008001k1.5k2k3k4k5k6k8k10k15k20kHzIvipQ V11 (L)IvipQ V11 (R)
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Sub bass frequencies are responsible for rumble. Elevated sub bass can lend an added sense of depth to music, and usually does not come at the expense of "bleeding into the midrange." Is there a limit to how much sub bass sounds good? Some may argue no, but I find too much sub bass can sound conspicuously disjointed from the rest of the music. It's notable, however, that a lot of music is light on usage of sub bass, so a sound signature that's big on sub-bass but light on mid bass may not sound very bassy with some popular recordings.

Mid bass is responsible for a sense of punch. In contrast to sub bass, mid bass is typically more percussive and energetic, feeling like it's literally pushing air, and can lend a sense of body and fullness to a sound. Listeners craving a "bassy" sound will commonly be more satisfied by mid bass emphasis, as it will add a bassy punch to most common music. However, too much mid bass can give the sound a sense of bloat, or even yield the dreaded midrange "bleed" in which lower midrange notes are masked and smeared by excessive mid bass presence. Ideally, mid bass tapers off by 200Hz.

A full lower midrange, tapering upward into the bass region, can lend a sense of thickness and warmth to the overall tone, while a "scooped" lower midrange can give a very clean sound at the cost of some thinness to the body. A lot of deep vocal micro detail depends on a well-executed lower midrange. But lower midrange is often sacrificed to create contrast between bass and treble for a typical "V-shaped" sound signature, which will commonly exhibit less natural vocal timbre than a more linear midrange tune.

Upper midrange is where a lot of "clarity" in a tune comes from. An elevated -- or "forward" -- upper midrange typically results in a forward vocal presentation, especially emphasizing higher-pitched vocals. Trumpets and guitars get their bite from upper midrange frequencies. Too much upper midrange can result in shrill or "shouty" vocals. Too little can result in a distant, recessed sound that's low on clarity. And uneven upper midrange emphasis can lead to oddly nasal or hollow vocals, with other odd timbral effects.

Also commonly referred to as "lower treble," the presence region has a lot to do with the naturalness of vocal transients. Too much emphasis here and vocals may take on an "edgy" or metallic character. Too little emphasis and the tune can lose definition and sound soft or dark. Much of the initial bite of trumpet and acoustic guitar string transients comes from a well-tuned presence region.

A lot of treble harshness and fatigue comes from the mid treble. Peaks in this region commonly result in unpleasant sharpness, or sibilance in vocals which adds abrasive harshness to S and T sounds. Too little mid treble, however, will result in a dark or dead sound, resulting in odd timbre to cymbal strikes. Making matters difficult for us graph readers, there is a commonly-observed "resonance peak" that appears in measurements, usually situated at 8kHz, that is an artifact of the measurement process. It can often be hard to tell how much of such a peak is "real" without listening.

In the way sub bass can add a sense of depth to the low end, air frequencies -- also called upper treble -- can add a dimensionality via the top end. When air frequencies are "rolled off," the sound may lose a sense of micro detail and definition, and cymbals may lose shimmer, leaving them blunt in their decay. Too much air is not common, but certainly possible, resulting in a fatiguing "shh shh" to cymbals, drum brushes, and other high-frequency sounds.

Targets
Neutral
Diffuse Field
Etymotic
Free Field
Innerfidelity ID
Reviewer
Antdroid
Bad Guy
Banbeucmas
Crinacle
Precogvision
Super Review
Preference
Harman
Rtings
Sonarworks
IvipQ
V11
LRonlyonly!
(or middle/ctrl-click when selecting; or pin other IEMs) LOCK
Aful
Artti
Aoshida
Audiosense
Binary
BGVP
CCZ
CKLVX
CVJ
Dunu
EPZ
FATfreq
Hakugei
Hanadomi
Hidizs
HIFIMAN
iBasso Jr
INAWAKEN
ISN
IvipQ
Joyodio
Juzear
Kefine
Kinera Celest
Kiwi Ears
KZ
Letshuoer
NC Audio
ND Audio
Paiaudio
Penon
Pula
QKZ
Roseselsa
SGOR
Shanling
Shozy
Simgot
Sivga
Sliivo
Soratune
Sound Rhyme
Tangzu
Tansio Mirai
Thieaudio
Tiandirenhe
Tingker
Tinhifi
Tri
Tripowin
TRN
Truthear
WG
XINHS
XSL
YU9
Ziigaat
ZISIN
Uploaded
Aful CANTOR
Aful CANTOR 10OHM
Aful CANTOR 30OHM
Aful CANTOR M5UT 3.5
Aful CANTOR M5UT 4.4
Aful EXPLORER
Aful MAGICONE
Artti R1
Artti T10 500MESH
Artti T10 PRO
Aoshida E20
Aoshida E20 10OHM
Audiosense T800
Binary DYNAQUATTRO
BGVP DMA
CCZ BC04
CKLVX D41 500MESH
CVJ NIGHT ELF
Dunu DAVINCI
EPZ P50
EPZ P50 10OHM
FATfreq DEUCE
FATfreq DEUCE 10OHM
Hakugei ANUNACHI
Hanadomi B2
Hidizs MP145 RED
Hidizs MS3 RED 500MESH
HIFIMAN RE2000 PRO SILVER
HIFIMAN SVANAR JR WIRED
HIFIMAN SVANAR JR WIRED NOFOAM NOMESH
iBasso Jr KLEE
INAWAKEN DAWN-MS
ISN EBC80
ISN EBC80 DC-ELITE
ISN H20 FOTB
ISN H20 100HR BURN
ISN H60
ISN H60 10OHM
ISN H60 18OHM
ISN H60 30OHM
ISN H60 75OHM
ISN H60 DIVINUS
ISN H60 ISN TIP
ISN H60 W1
IvipQ GOLDEN CROW
IvipQ GOLDEN CROW 30OHM
IvipQ JI MENG
IvipQ PHOENIXIA
IvipQ SHANHAI
IvipQ STAR DRAGON
IvipQ V11
IvipQ V11 MOD
IvipQ V12
Joyodio SHINE
Juzear 61T
Juzear CLEAR
Kefine DELCI
Kefine KLEAN SLVR W/HOLE
Kinera Celest IGNITEX BEAST
Kinera Celest PHOENIXCALL
Kinera Celest WYVERN ABYSS
Kiwi Ears AETHER
Kiwi Ears CANTA
Kiwi Ears CANTA MOD
Kiwi Ears PUNCH
Kiwi Ears PUNCH 4.4 XINHS C01
KZ AS10 PRO
KZ AS10 PRO 0 OHM
KZ AS10 PRO 10 OHM
KZ AS10 PRO 18 OHM
KZ AS10 PRO 30 OHM
KZ AS10 PRO 75 OHM
KZ AS10 PRO 150 OHM
KZ EDC PRO
KZ LIBRA BAL
KZ LIBRA X
KZ PRX
KZ SAGA BALANCED
KZ SAGA BASS
KZ VADER BAL UUDD
KZ VADER BAL DUDD
KZ VADER BAL DDDD
KZ VADER BAL UDDD
KZ VADER BAL UUUD
KZ VADER BAL UUUU
KZ VADER BAL UUDU
KZ VADER BAL UDUD
KZ VADER BAL DUUD
KZ ZA12 1100
KZ ZA12 1100 10OHM
KZ ZA12 1100 18OHM
KZ ZA12 1100 30OHM
KZ ZA12 1100 75OHM
KZ ZAR Y3 VENT
KZ ZENITH 1110
KZ ZENITH 1111
KZ ZENITH 1111 HOLE
KZ ZS12 PRO X
KZ ZS12 PRO X HOLE
KZ ZVX PRO
Letshuoer S08
Letshuoer S12 2024
Letshuoer S12 PRO 500MESH
NC Audio DD BCD UU
ND Audio PLANET
ND Audio PLANET RAW
ND Audio PLANET 500MESH
ND Audio VENUS
Paiaudio PDM4
Paiaudio PDM7
Paiaudio PDM7 Y5
Penon FAN 3 ON
Penon FAN 3 OFF
Pula ANVIL 114
QKZ AK6 TITAN
QKZ ZXN
Roseselsa AURORA ULTRA
SGOR LUNA
Shanling ME600 CLEAR
Shanling ME600 MDH
Shanling ME600 RAW
Shanling ME600 SMGT
Shanling ME600 SP1BLK
Shanling SONO BLACK 500MESH
Shozy P10 2X500MESH
Simgot EA500LM MD250
Simgot EM6L 400M
Simgot SUPERMIX 4
Simgot SUPERMIX 4 MUSE M5U TM 3.5
Simgot SUPERMIX 4 MUSE M5U TM 4.4
Simgot SUPERMIX 4 MUSE M5U VT 3.5
Simgot SUPERMIX 4 MUSE M5U VT 4.4
Simgot SUPERMIX 4 DC-ELITE 3.5
Simgot SUPERMIX 4 DC-ELITE 4.4
Sivga QUE
Sliivo SLT6 UU
Sliivo SLT6 UD
Sliivo SLT6 DU
Sliivo SLT6 DD
Sliivo SL-41 MK2
Soratune YI01
Sound Rhyme SP01 BLK
Sound Rhyme SP01 CLR
Sound Rhyme SP01 RED
Sound Rhyme SR9
Tangzu YUXUANJI
Tansio Mirai SHOCK 1B1T
Tansio Mirai SHOCK 1B5T
Tansio Mirai SHOCK 3B3T
Tansio Mirai SHOCK 3B4T
Tansio Mirai SHOCK 3B5T
Tansio Mirai SHOCK 3.5B4.5T
Tansio Mirai SHOCK 4B2T
Tansio Mirai SHOCK 4B3T
Tansio Mirai SHOCK 4B4T
Tansio Mirai SHOCK 4B5T
Tansio Mirai SHOCK 4.2B3.9T (FAVE)
Tansio Mirai SHOCK 4.2B4.1T
Tansio Mirai SHOCK 4.5B3.5T
Tansio Mirai SHOCK 4.5B5T
Tansio Mirai SHOCK 5B1T
Tansio Mirai SHOCK 5B5T
Thieaudio ELIXIR
Tiandirenhe TD08 PRO BLK
Tiandirenhe TD08 PRO BLUE
Tiandirenhe TD08 PRO RED
Tiandirenhe TD20
Tiandirenhe TD20 300
Tiandirenhe TD20 500
Tiandirenhe TD20 500H
Tingker H6
Tingker H16
Tinhifi DUDU
Tri DRACO
Tri I3 MK3
Tri I3 MK3 10OHM
Tri I3 MK3 30OHM
Tripowin PICCOLO
Tripowin VIVACE
Tripowin VIVACE RAW
Tripowin VIVACE RETUNE
TRN MT5
TRN ORCA DUD
TRN SHELL BLACK
TRN SHELL GREEN
TRN SHELL RED
TRN VX PRO+
TRN WHITE TIGER BLACK
TRN WHITE TIGER GREEN
TRN WHITE TIGER RED
Truthear ZERO:RED
Truthear ZERO:RED 10OHM
WG T-ONE
XINHS HS01
XINHS HS80
XSL X-ONE MK3
XSL X-ONELM MK4 BLUE
XSL X-ONELM MK4 GOLD
XSL X-ONELM MK4 SLVR
YU9 YAN
YU9 YAN NOFOAM
YU9 YAN SET2
Ziigaat CINNO
Ziigaat DOSCINCO 250MESH
Ziigaat ESTRELLA
Ziigaat ESTRELLA 4.2-300N 500V
Ziigaat ESTRELLA 4.2-400N 500V
ZISIN KIRIN

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It represents the audible frequency response of a particular headphone model, which tells us a lot about how it sounds.