With the advent of new technologies that allow for virtually any modern computer to process high quality audio, many musicians and amateur players are presented with a plethora of sound sculpting tools. Some of these display subjective attributes such as warmth punch and shimmer. If engineers are able to manipulate the timbre of a recorded sound using equalization, are they then able to use this ability to convey specific perceptual intentions (to make a sound “crunchy,” “bright,” or “warm” for instance). Using Juslin’s standard paradigm, this study explores the question: How effective are audio engineers in communicating warmth when applying equalization?
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