Pink noise plays with one band boosted - toggle the boost, name the band. The "golden ears" drill every mixing engineer runs, free in your browser. Octave bands 100 Hz to 12.8 kHz, boosts from an obvious +12 dB down to a realistic +3 dB.
Boost size
Use headphones or decent speakers at moderate volume - laptop speakers can't reproduce the 100 Hz band, which turns those rounds into guesses.
boom, weight, kick-drum body
mud when excessive, warmth when right
boxiness - singing into cardboard
honk, nasal midrange
presence edge, forwardness
harshness, bite - ear sensitivity peak
sibilance, sizzle
air, sparkle, shimmer
Hear any single frequency in isolation on its landing page (100 Hz, 500 Hz, 4 kHz...) or sweep the whole spectrum with the sweep generator. The written map is in the frequency chart guide.
Learning to hear which frequency region changed - the core skill of mixing and mastering. Classic audio-school programs ("golden ears" training) play filtered noise or music and ask you to name the boosted band; engineers who can do this stop sweeping EQs hunting for problems and go straight to the frequency they hear.
Pink noise plays continuously with one octave band boosted by a peaking filter. Toggle between boosted and flat as many times as you like, then name the band. Ten rounds, octave bands from 100 Hz to 12.8 kHz. Easy uses +12 dB boosts (obvious), hard uses +3 dB (the size of real mixing moves).
Rough anchors: 100 Hz = boom/weight, 200 Hz = mud/warmth, 400 Hz = boxiness, 800 Hz = honk/nasal, 1.6 kHz = presence edge, 3.2 kHz = harshness/bite, 6.4 kHz = sibilance/sizzle, 12.8 kHz = air/sparkle. Learning these octave names is half the skill; hearing them at +3 dB is the other half.
Pink noise is the same every time and contains every frequency at equal perceived weight, so the boost is the only thing changing - the fastest way to build the mapping. Once you clear the hard level here, apply it to real material: boost a band on a song in your DAW, guess before looking, and repeat.
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