Many games provide one master-volume control and separate switches for music and sound effects. Those options can make the entire game quieter or remove a broad audio category, but they do not address which parts of the sound spectrum remain prominent. A player who finds sharp, high-pitched sounds uncomfortable may have to lower every sound, even when voices, music, or lower-frequency effects are otherwise usable.
Candy Crush Soda Saga includes more specific audio settings. Bass Control adjusts the level of deeper-pitched sounds, while Reduce High Frequencies adjusts higher-pitched sounds. King introduced these alongside individual music and sound-effect controls, mono audio, and left-right balance.
These settings are notable because they treat frequency content as adjustable rather than assuming that overall loudness is the only relevant property of game audio. They do not identify or remove particular effects by name, but they give the player some control over broad low- and high-frequency regions.
Overall Volume and Frequency Are Different
A volume slider changes the level of the audio passing through it. Lowering master volume generally reduces music, effects, and other game sounds together. A sound-effect slider can reduce one category relative to music, but every frequency contained within that category is still reduced as part of the same group.
Frequency controls change a different characteristic. Bass Control affects deeper-pitched sound content. Reduce High Frequencies softens the higher-pitched part of the game’s audio. This can alter the tonal balance without requiring all sound to be reduced by the same amount.
A high-frequency reduction is therefore not identical to turning the volume down. A sharp sound may become less prominent relative to lower-pitched content, while other parts of the mix remain more audible. Similarly, changing bass does not simply increase or decrease the entire soundtrack.
The official description does not provide exact frequency ranges, decibel values, filter curves, or a list of affected effects. It would be inaccurate to describe the controls as a precise equalizer or claim that a specific frequency is completely removed.
What Reduce High Frequencies May Change
King describes Reduce High Frequencies as a way to adjust the level of higher-pitched sounds. Higher-frequency content may be present in bright musical elements, sparkling effects, impacts, interface feedback, and other short sounds. The setting applies broadly rather than offering separate switches for each source.
This may help some players who find sharp or high-pitched game audio uncomfortable, distracting, fatiguing, or difficult to combine with other sounds. It may also allow a player to retain more of the game’s audio feedback than they could if their only workable choice were muting sound effects completely.
Reduction should not be described as guaranteed removal. An affected sound can remain audible, and its lower-frequency components may still be present. A sound that causes discomfort because of its repetition, meaning, onset, loudness, or complete spectral character may remain difficult even after its highest frequencies are softened.
The setting also does not change the visual event associated with a sound. Animations, flashing effects, movement, and board feedback remain separate. Players with combined sensory needs may need to adjust visual accessibility settings independently.
What Bass Control Adds
Bass Control adjusts deeper-pitched sounds. Low-frequency audio can be experienced not only as sound but, depending on the device and volume, as vibration or physical resonance through headphones, speakers, furniture, or a handheld device.
Reducing bass may help some players who find low tones, impacts, or vibration-like audio uncomfortable. Increasing it may make lower-pitched information more prominent for someone who prefers or more easily perceives that part of the spectrum. The setting is best understood as personal adjustment rather than a universally correct accessibility configuration.
Bass Control does not replace device-level audio settings. Phone speakers, headphones, external speakers, operating-system processing, and hardware equalization can all change how the same game setting sounds. A configuration that is comfortable through a phone speaker may feel different through sealed headphones or a bass-enhanced external device.
Because the official documentation does not publish the control’s processing range, players should test it with their actual listening equipment. The name establishes its intended function, but it does not predict precisely how every effect will be altered on every device.
Separate Music and Sound-Effect Sliders
The frequency controls are part of a larger audio menu that also separates music and sound effects. This allows several kinds of adjustment to be combined. A player can change the balance between music and effects, then adjust the bass and higher-frequency content within the resulting experience.
For example, someone who wants to hear interaction feedback but finds the complete effects mix too prominent may reduce the sound-effect level and soften its high-frequency content. Another player may lower music while leaving board feedback more audible. The exact result depends on how the game routes its sounds through these controls.
Category volume and frequency adjustment solve different problems. Lowering effects reduces the whole effects category. Reducing high frequencies alters the brighter part of the audio spectrum. Neither should be assumed to remove one specific sound while preserving every other effect unchanged.
Mono Audio and Balance Are Different Again
Candy Crush Soda Saga also includes mono audio and balance controls. Mono audio sends the same combined information to both output channels rather than separating content between the left and right sides. Balance changes how strongly audio is presented on one side relative to the other.
These controls concern channel distribution, not frequency. Mono audio can help ensure that information assigned to one stereo channel is not lost when a player hears through one ear or uses one earpiece. Balance can move the output toward a preferred side. Neither inherently reduces sharp high-frequency content or deep bass.
The controls can still be used together. A player might enable mono audio, shift the balance toward one side, lower bass, and reduce high frequencies. Another may keep stereo output but adjust only the sound spectrum. The presence of independent controls avoids forcing every audio need into one preset.
Sensory Accessibility and Individual Variation
Sound sensitivity is not determined by volume alone. Pitch, timbre, repetition, predictability, duration, suddenness, and context can all influence whether a sound is comfortable or usable. Broad frequency adjustment addresses only part of that experience.
Some people with sensory sensitivities, hyperacusis, migraine-related sound sensitivity, auditory processing differences, or misophonia may find particular adjustments helpful. This does not mean that everyone with one of these conditions will benefit from the same settings. A frequency control cannot predict an individual trigger or comfort threshold.
For misophonia in particular, a reaction can be connected to the pattern or meaning of a specific sound rather than solely to its frequency. Reducing high frequencies may change that sound without making it tolerable. If the relevant effect remains, lowering the sound-effect category or muting game audio may still be necessary.
Learn more about misophonia at www.misophoniainternational.com
What the Controls Do Not Provide
The audio menu does not provide a per-effect sound library where individual effects can be previewed and disabled. A player cannot use the documented controls to select one specific board sound while preserving every other effect at its original level.
King also does not describe dynamic filtering that activates only when a certain effect occurs. Bass and high-frequency adjustment should be treated as broad mix controls. They may alter desirable and undesirable sounds together.
The settings do not provide captions for gameplay sounds. A deaf or hard-of-hearing player who needs a visual description of a particular audio event should not assume that mono audio, balance, or frequency controls convert that event into visual information.
They also do not prevent device notifications, advertisements, or audio from other applications. Those sources may use separate volume and accessibility systems outside Candy Crush Soda Saga.
Availability on iOS and Android
King announced the expanded accessibility audio settings for iOS in May 2024. At that time, the company explicitly said the new features were limited to iOS devices. King announced the new audio-options menu for Android in May 2025, bringing bass adjustment and softened high-pitched sounds to that platform as well.
Xbox’s 2025 accessibility overview likewise states that the menu had historically been available on iOS and arrived on Android on May 8, 2025. Although Candy Crush Soda Saga is distributed through additional stores and platforms, the cited accessibility announcements do not confirm these specific audio controls for every version.
Players should check the Accessibility or audio settings in their installed version. Mobile feature rollouts can also depend on application updates, so an older installation may not show the same menu documented in the announcements.
Using the Controls Without Increasing Sensory Load
It can be useful to begin testing at a low device volume. Adjust one setting at a time, listen during several ordinary board interactions, and then test the combined configuration. This makes it easier to determine whether a change came from bass, high-frequency reduction, category volume, balance, or mono audio.
Headphones are not automatically the most accessible way to test. They can make quiet details clearer, but they also place sound close to the ears and may increase the prominence of frequencies that are less noticeable through a phone speaker. The comfortable output method will vary.
If testing causes discomfort, the presence of detailed controls does not create an obligation to continue using audio. Muting sound effects, muting all game audio, or playing without headphones may remain the more practical choice.
More Specific Than a Volume Switch, but Not a Trigger Filter
Bass Control and Reduce High Frequencies make Candy Crush Soda Saga’s audio more adjustable than a conventional master-volume switch. They allow low- and high-frequency content to be changed separately and can be combined with music, sound-effect, mono, and balance controls.
Access needs vary, and these settings cannot isolate every uncomfortable sound, guarantee complete frequency removal, caption audio information, or produce the same result on every device. Their practical value is the ability to reshape broad parts of the sound spectrum while retaining more individual control over the rest of the game’s audio.