Am 27.03.2018 um 19:29 schrieb David Reaves:
If what you do involves material with an unusual spectral balance, and/or if
you use aggressive filter roll offs and/or you use something other than RMS
detection, then my assumptions may not be useful.
that is understood.
there are not many
This actually explains a few misconceptions I had in the past..
Both slopes are filed under "natural spectrum" in my mind.
Am 27.03.2018 um 19:16 schrieb robert bristow-johnson:>
> I believe thats equal energy on a -6dB/octave spectrum and gives figures
> very close
no, that's -3 dB/oct.
What I meant when I explained how I derived my crossover frequencies, was that
I used actual, typical program audio and **its own inherent spectral energy
density distribution** to determine empirically (over many months work)
generally where to set the frequencies.
Much typical
Original Message
Subject: Re: [music-dsp] bandsplitting strategies (frequencies) ?
From: "gm" <g...@voxangelica.net>
Date: Tue, March 27, 2018 6:10 am
To: music-dsp@mu
i keep dividing into equal bands on a log2 scale,
I believe thats equal energy on a -6dB/octave spectrum and gives figures
very close
to what David Reaves suggested the other day for 4 bands when you set
6300 Hz as the upper limit
and 150 Hz corner frequency for the bass band (or 45 Hz
gm wrote:
What are good frequencies for band splits? (2-5 bands)
For standard mastering applications there are norms for binoral and Equal Loudness Curve
related reasons. The well known PC software probably doesn't get there but it may be you
want to tune those frequencies based on the
Or as I said before, even for N bands, one parameter, “Preset” works wonders to
describe the purpose and accommodate different use cases.
> On 23. Mar 2018, at 17:44, gm wrote:
>
> For equally spaced bands you could do it with 2 parameters, one to shift the
> middle or
For equally spaced bands you could do it with 2 parameters, one to shift
the middle or base frequency
and one spread or fan parameter that spreads or narrows the bands.
The reason I don't want this, is that I don't want too many parameters
and the user doesn't know how to set the bands either,
I designed a four-band AGC for broadcast about 20 years ago, using single-pole
subtractive band split filters. I used RMS detection, and wanting each band’s
processing to be doing roughly equal ‘work,’ determined the crossover
frequencies on the basis of typical energy distribution. This
If it’s a distortion or compression and only 2-4 bands, a user set crossover(s)
would usually be desirable.
The Ableton Multi-band Dynamics, Waves C4, Ohm Force Ohmacide, Izotope plugins,
Surreal Machines Transient Machines all come to mind.
It probably depends on the complexity you are looking
The purpose is multiband compression and distortion.
So I only have a few bands, 2 to 5.
I use ERB scale in my vocoder, which worked slightly better than Bark
scale for me (it seems better defined at the low range)
I was wondering if I should use it here too or if it's better on a log2
Gabriel,
I think it depends on what you are trying to do. What’s your context?
For example a Vocoder (for voice) might have a different distribution of bands
(bark scale) than a multipurpose graphic EQ (even octaves).
One strange example I know of is the Serge resonant EQ (not crossovers but
On 3/23/18 12:01 AM, gm wrote:
What are good frequencies for band splits? (2-5 bands)
What I am doing is divide the range between 100 Hz 5-10 kHz
into equal bands on a log scale (log2 or pitch).
Are there better strategies?
Or better min/max frequencies?
How is it usually done?
What are good frequencies for band splits? (2-5 bands)
What I am doing is divide the range between 100 Hz 5-10 kHz
into equal bands on a log scale (log2 or pitch).
Are there better strategies?
Or better min/max frequencies?
How is it usually done?
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