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As others have said, this information isn’t really all that useful for making records. If you were an audiologist, maybe. But for mixing, I dunno. The critical band and masking shadow get created AT the frequency; it’s not that the Nice It’s Going To Be A Dog And Dunkin’ Donut Kind Of Day Shirt. The denser the master’s spectrum becomes in a mix, the more you get laned into these 24 related zones as the fight for clarity becomes a fight for frequency distinction. And you can’t get clarity from pushing faders and meters harder. Rectangular Bandwidth rather than the sampling procedure of the Bark scale that gives rise to a 24-band system. That’s just because you don’t see the years of experience that went into knowing. On the contrary, I can’t name one actual professional producer with legitimately good sounding.

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I’ve only just spent the past 20 minutes reading about this. But I don’t think your understanding of any of this is correct. Scientists observed that there is a bandwidth within which one frequency can mask another. Frequencies Nice It’s Going To Be A Dog And Dunkin’ Donut Kind Of Day Shirt. Like filters, the bandwidth does not have a firm boundary — as frequencies get farther apart, they maskless. Critical bands are a model that describes observed audio perception. It basically means, “If you built a robot out of parts like this, it’s responses. To frequency masking would be similar to a human’s”. It does not say that the human ear does organize into explicit bands. It seems that it does not. Because hair cells are evenly distributed all along the cochlea. It no more describes a physical property of the human ear than the Mel scale implies.

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