What does the corner frequency change?

Which region is lifted. Everything below the corner moves together, so a low corner adds sub-bass that many speakers cannot reproduce, while a high one reaches into the lower midrange and can sound muddy. Around a hundred and twenty hertz is where a kick drum and a bass guitar's lower notes sit.

Why use a shelf rather than a peak?

Because the point is to raise the weight of the whole low end rather than to lift a single frequency. A peak would raise one note and leave its neighbours untouched, which the ear hears as unevenness; a shelf preserves the balance within the band while making all of it louder.

What does the clipping warning mean?

That the boosted signal has reached full scale, so some samples are limited rather than increased further. Low frequencies carry most of a recording's power, so a large boost often uses up the available headroom; the report states it plainly and suggests reducing the boost or using the peak limiter.

Why check the result on headphones?

Because the region being lifted is often the one that small speakers cannot reproduce at all. On a laptop the boost may be entirely inaudible while the headroom has been spent, so the result can sound quieter and flatter than the original on the very system it was tuned on.

Can it cut the bass instead?

No, the boost runs from zero upward. To reduce the low end, use the equalizer's bass band with a negative figure, which uses the same shelf mathematics with a cut rather than a lift.

Bass Booster

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Volume Booster

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Distortion Effect

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Bass Booster lifts everything below a corner you choose with a single low shelf, then tells you honestly when the result has run out of headroom.

What is Bass Booster?

Set the amount and the corner frequency, drop a file, and boost; the whole region below the corner comes up together and everything above it is left alone.

The two controls:

A boost from nothing to fifteen decibels, defaulting to six.
A corner from forty hertz to three hundred, defaulting to a hundred and twenty.
A measured peak figure for the output, which the report uses to warn when the result has reached full scale.

A shelf rather than a peak is the right shape for this job, and the reason is in how the ear hears low frequencies. A peak at a single frequency would lift one note or one drum and leave its neighbours alone, which is heard as an unevenness rather than as more bass; a shelf lifts the whole band below the corner in one move, so the balance of the low end is preserved while its overall weight rises. The corner is therefore the musically important control. Setting it at forty hertz adds sub-bass that most speakers cannot reproduce and that eats headroom for nothing; setting it at three hundred hertz reaches up far enough to thicken the lower midrange and can make a mix sound bloated. A hundred and twenty hertz, the default, sits where the fundamental of a kick drum and the lower notes of a bass live, which is why it reads as more weight rather than as more mud. The mathematics of the shelf are the same ones used in the equalizer's low band, generalised so the corner can move. The one thing the tool does beyond filtering is measure the output's peak and say so. A low shelf adds energy to the loudest part of most material, since low frequencies usually carry the most power, so a large boost on an already loud file can push the samples past full scale. Rather than hiding that, the report states when the output has been limited to full scale and suggests reducing the boost or reaching for the peak limiter, which is the honest way to handle a gain change that can run out of room.

Where the model is limited:

One shelf only, with no cut and no separate frequency ranges.
No per-channel control, so a stereo file is boosted on both sides equally.
No dynamic behaviour, so the boost is the same at every level.
No analysis of the source, so the amount is chosen by ear.
The warning reports clipping after the fact rather than preventing it.
Output is sixteen bit WAV.

Use it when a recording sounds light at the bottom: a mix from small speakers, a podcast recorded with a thin microphone, or a track that needs more weight for playback on a system with some low end. When the whole balance needs adjusting rather than just the bass, the equalizer provides three bands at once, and when the problem is that a mix is too loud, the peak limiter reduces the level rather than raising one band of it. When the low end is being lifted to be felt rather than heard, checking on headphones is worthwhile.

How to use Bass Booster

Drop an audio file onto the panel and let it decode.
Set the boost, starting around the default rather than at the top of the range.
Set the corner, keeping it near a hundred and twenty hertz unless more weight or less mud is wanted.
Boost the bass, read the report for a clipping warning, and check the result on headphones.

When to use Bass Booster vs related tools

Bass Booster is the tool for adding weight at the bottom with one control and an honest headroom check. Equalizer shapes three bands at once, and Peak Limiter is the tool to reach for when the boost has used up the available level. When the low end needs a filter removed rather than lifted, Hum Remover and Noise Reducer work in the other direction.

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