Hello David! > I would ask the question as to if your ultimate goal is really to totally > and completely separate the bands, or, rather, to control levels in a > subtle, musical manner. The latter case. Total seperation is NOT wanted, because a single sin-tone should not jump between two bands, if it is close to the splitting frequency. So a reasonable overlap is desired.
> If the former, then ask yourself what happens when an instrument or voice > straddles the crossover frequency, moving from one band to another. If > the band borders are abrupt, when the gains are very different from > band-to-band the result will be very obvious, and unnatural. Yes. I fully agree. > For my purposes, since a multi-band compressor is ultimately designed to > be listened to, the solution that is least objectionable sonically is the > one I choose. And if it is simpler, so much the better. :-) So, may I ask what kind of filter did you use and how your "splitting strategy" looks like? First order IIRC seems too flat to me, I liked second order better because the seperation is more clear. But I havent played around enough to tell if that also works best for the acutal multi-band compression. Regards, Thilo Koehler -- -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp
