But the settings have thresh hold and ratio. The ratio would be an important parameter here . Also consider that this implies you would only try to correct dynamic distortions that are applied to the entire signal from your audio components you wouldn't try to EQ individual instruments with this approach, you are not able to correct each channel in a mix like when it's recorded.
Last edited:
Depending on how you set the threshold and the ratio I imagine you could to some extent still alter dynamic changes that were made during the mix . Mostly due to the fact that the instruments will be set at levels that place their harmonics and fundamentals within certain ranges of each other ? Maybe not though.
Also consider you can set bandpass DEQ filters . You could just dynamic compress sound in small frequency and amplitude regions of your choice with some consideration to a chart that shows the fundamental and overtones Of the instrument.
But again this affects all sound in that region so it's not really the concept you want to employ so much . Unless your willing to accept that as a preference that you have . Which in the end it's all about preference after the theory is said and done .
Also consider you can set bandpass DEQ filters . You could just dynamic compress sound in small frequency and amplitude regions of your choice with some consideration to a chart that shows the fundamental and overtones Of the instrument.
But again this affects all sound in that region so it's not really the concept you want to employ so much . Unless your willing to accept that as a preference that you have . Which in the end it's all about preference after the theory is said and done .
These are not easy concepts and unless you understand what's going on well it may be hard to follow this discussion.
Any sound has an amplitude relative to zero, doesn't matter if it's a harmonic of a loud or quiet instrument . The thresh hold determines what amplitude it will begin to take effect on. That's how it works .
The DEQ does not filter frequencies then boost, it takes your signal and decomposes it mathematically into sin waves. This is totally different than filtering like a crossover .
So stop trying to picture a wave like you normally do it's completely different concept. And that's why you can't understand how it could do what I am describing. Read the links I posted if you want to understand exactly what is going on. Please don be negative what's the point. Try to be constructive or just stay out of it. Thanks
Any sound has an amplitude relative to zero, doesn't matter if it's a harmonic of a loud or quiet instrument . The thresh hold determines what amplitude it will begin to take effect on. That's how it works .
The DEQ does not filter frequencies then boost, it takes your signal and decomposes it mathematically into sin waves. This is totally different than filtering like a crossover .
So stop trying to picture a wave like you normally do it's completely different concept. And that's why you can't understand how it could do what I am describing. Read the links I posted if you want to understand exactly what is going on. Please don be negative what's the point. Try to be constructive or just stay out of it. Thanks
It's too bad that we get to this point . We should just keep it technical instead of personal.
This could have been a powerful thread but instead it's kind of painful for anyone who wants to learn and has to read all of the bickering and attacking .
I don't put him down for not hearing the difference in wire. It is subtle and it's mostly not worth spending lots of money on.
Not sure why everyone is a attacking. Probably because they don't understand the math part and they can't deal with that in any other way than to dismiss and lash out.
I don't want to put anyone down here this is a fun hobby. Let's move forward .
Please from now on read the whole thread before making random statements that have been addressed.
Thanks for your input .
This could have been a powerful thread but instead it's kind of painful for anyone who wants to learn and has to read all of the bickering and attacking .
I don't put him down for not hearing the difference in wire. It is subtle and it's mostly not worth spending lots of money on.
Not sure why everyone is a attacking. Probably because they don't understand the math part and they can't deal with that in any other way than to dismiss and lash out.
I don't want to put anyone down here this is a fun hobby. Let's move forward .
Please from now on read the whole thread before making random statements that have been addressed.
Thanks for your input .
For those who can't follow the detailed method explanations for how signal processing works, you can simply refer to the manual and read a description of how the Behringer DEQ 2496 works.
https://www.parts-express.com/pedocs/manuals/248-661-behringer-deq2496-manual-41813.pdf
https://www.parts-express.com/pedocs/manuals/248-661-behringer-deq2496-manual-41813.pdf
Attachments
The volume of a sound is determined from its amplitude, peak to peak magnitude.
The DEQ doesn't boost amplitude modulated waves. It converts them to a different format, this format is not inherent in the DA Conversion and digital storage of an amplitude modulated wave, but is a mathematical process for converting the signal to a different mathematical space.
So stop thinking about how a DA converter works, and realize this is a different concept.
If you look at the axis of the graphs, of the examples you can see this is not a wave anymore, it's the signal represented in the frequency amplitude domain, which is a different mathematical space. It is not something you can play through your amp and have music. Each discrete point on the axis represents a frequency, and on the other axis the amplitude (voltage).
The signal has been converted into a large number of simple sin waves. These are not frequency bands obtained from a band pass filter applied to amplitude time domain signal.
It literally uses math to make up a large number of sin waves at different frequencies. You can now think of these all as separate independent channels. The "channels" are the discrete gradations on the axis of frequency , on the graph of frequency amplitude in the new space.
Each one can be manipulated independently of another. This is how you get the gain of any of these individually. With a code you can ask a program to set a threshold, and increase only frequencies below the threshold, or above, both, make one increase, one decrease, whatever you want.
Once you are done you recombine the signal and convert it back to a normal wave that you are used to thinking of.
The real question is how do we come up with all the individual sin waves from a complex signal? And that is where the Fourier transform comes in. You don't need to understand the math, but just know that is the tricky part to understand and the math is how its possible. Not the process of DA conversion, or some property of how digital audio is stored.
The DEQ doesn't boost amplitude modulated waves. It converts them to a different format, this format is not inherent in the DA Conversion and digital storage of an amplitude modulated wave, but is a mathematical process for converting the signal to a different mathematical space.
So stop thinking about how a DA converter works, and realize this is a different concept.
If you look at the axis of the graphs, of the examples you can see this is not a wave anymore, it's the signal represented in the frequency amplitude domain, which is a different mathematical space. It is not something you can play through your amp and have music. Each discrete point on the axis represents a frequency, and on the other axis the amplitude (voltage).
The signal has been converted into a large number of simple sin waves. These are not frequency bands obtained from a band pass filter applied to amplitude time domain signal.
It literally uses math to make up a large number of sin waves at different frequencies. You can now think of these all as separate independent channels. The "channels" are the discrete gradations on the axis of frequency , on the graph of frequency amplitude in the new space.
Each one can be manipulated independently of another. This is how you get the gain of any of these individually. With a code you can ask a program to set a threshold, and increase only frequencies below the threshold, or above, both, make one increase, one decrease, whatever you want.
Once you are done you recombine the signal and convert it back to a normal wave that you are used to thinking of.
The real question is how do we come up with all the individual sin waves from a complex signal? And that is where the Fourier transform comes in. You don't need to understand the math, but just know that is the tricky part to understand and the math is how its possible. Not the process of DA conversion, or some property of how digital audio is stored.
Attachments
Last edited:
I know this is not easy to understand if you have not studied it. Not trying to be an *******. But to put descriptions down that are air tight with all aspects described in detail requires volumes of books. So if you can understand the concepts and keep going maybe we can get somewhere instead of trying to trip each other for not posting bullet proof statements in the court of DIY audio law. lmfao
Last edited:
I specifically defined what I mean by dynamics because there are many interpretations of that word. As you can now see from the manual I am just clarifying what the DEQ is doing. It adjusts the ratio of loud to soft sounds. It functions continuously.
from musical definition :
"In music, dynamics normally refers to the pitch of a tempo or note, but can also refer to every aspect of the execution of a given piece, either stylistic (staccato, legato etc.) or functional (velocity). The term is also applied to the written or printed musical notation used to indicate dynamics."
"Relative loudness[edit]
The two basic dynamic indications in music are:
p or piano, meaning "soft".[1][2]
f or forte, meaning "loud".[1][3]"
"https://en.wikipedia.org/wiki/Dynamics_(music)"
from musical definition :
"In music, dynamics normally refers to the pitch of a tempo or note, but can also refer to every aspect of the execution of a given piece, either stylistic (staccato, legato etc.) or functional (velocity). The term is also applied to the written or printed musical notation used to indicate dynamics."
"Relative loudness[edit]
The two basic dynamic indications in music are:
p or piano, meaning "soft".[1][2]
f or forte, meaning "loud".[1][3]"
"https://en.wikipedia.org/wiki/Dynamics_(music)"
- Status
- This old topic is closed. If you want to reopen this topic, contact a moderator using the "Report Post" button.