A logical use of audio filters is to attempt to “match” the frequency response of a microphone, loudspeaker, amplifier, or room to that of another. Can this really work? Let’s look at when it can, and when it can’t.
When it comes down to it, we don’t always get enough time to do everything we want, but here’s an approach to getting as much done as possible. (An audio version of this article is available for download.)
If you’re in one of the 99.9 percent of acts who just need to put some lights up on stage or dance floor to get the party going, then you’ve come to the right place.
“To tilt or not to tilt? And if so, how much?” Gaining insights by focusing on the very critical crossover frequency area between the subs and the low-end of the main PA.
High frequencies have shorter time periods while low frequencies have longer time periods, but this familiar reciprocal relationship feels less intuitive when applied to the time and frequency domains.
They’re related but different and have specific applications. It’s important to know which form to use to get your answers for a given application.
What elements of your approach or workflow might be considered unconventional? What benefits are afforded by those decisions?
A journey through the development of audio filtering starting with the staples of the analog world through the filters in modern DSP that mine their predecessors but can also go beyond.
Summarizing the results of a comparison between simulated and measured data via a field test.
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