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Every time I try to figure out how to use Dyn by reading the forum, I get more confused.  So let me try and ask how dyn works in a different way:

Based on an earlier post, I think transients are the detector trigger that causes the dynamic behavior.

So, if I boost a peaking filter band and turn up Dyn, what happens?  Do the transients cause the EQ gain to get louder or softer during the transient period compared to Dyn=0?

Also, If I cut a peaking filter band and turn up Dyn, what happens?  Do the transients cause the EQ cut to go lower or higher compared to Dyn=0?


When I was describing 'transient' base of Dyn settings, I was meaning some 'general direction' in understanding how Dyn works.  In practice, it can be hard to 'catch' the behavior, because GlissEQ does not catch transients in a dead precise manner (like Transmodder does it, for example).  Basically, the higher the Dyn setting, the higher the swing of the gain meter (theoretically is, anyway), and so the punchier the overall sound.

This is about sound - not about how exactly it works behind the scenes.

Thanks, Alesky.

Is that true for cut as well?  In other words, does increasing dyn add more swing between selected gain reduction and zero gain reduction?

Sure, this also applies to cuts.

Based on other things I've read by Aleksey and observing the Dyn behavior some, I think it tends to let the more dynamic material through, then lessen the affect of the less dynamic material.  So if you are boosting +3 dB the transient or louder content would get the full boost, but the trailing audio wouldn't.  So you wind of emphasizing the transients in a general sense.

With cutting, I think with the Dyn setting engaged you are letting more or less of the dynamic material through the filter - so the cut is taking place mostly on the non-dynamic material.

Aleksey - is this at all right relative to the sort "delay" behavior you described in another post (which I can't seem to find, but I think I remember reading this)?

This is very close to my own understanding and initial design.  Exactly the first transient gets full boost/cut, and then if boost/cut 'reached' its goal, this boost/cut is eased.  Something like this, since all these explanations cannot be close enough.

wsc and Aleksey,

Thanks for the additional explanation - this helps me a lot!

Sorry Aleksey, I'm still a bit unclear.

I'm not sure exactly how to word this, but:

with higher Dyn values, do frequency boosts become larger or smaller if there is a lot of that frequency range in the original material?  Likewise, are cuts deeper when there is more or less of the offending frequency?

Say I've subgrouped a horn section together and done a -6dB cut, Dyn 7, around 2.5kHz to take out some of the brassiness.  If the trombonist plays by himself and there is not an offensive amount of 2.5kHz to start with, I'd assume I would get less cut.  Now the trumpet player starts soloing and he is really harsh at 2.5kHz, I would get the full cut then, right?

Alright, now say I've got a vocal subgroup and I give it a little +3dB boost, Dyn 7, at 10kHz to give the singers some air.  When they are singing softly and there is little 10kHz naturally present, do I get the full +3dB boost then?  As they get louder and more 10kHz is emitted, do I get less boost?

I hope that that is clear enough to follow.  Thanks in advance.

Cuts/boosts are never greater than what you have set on for the band.  You may evaluate how much boost/cut you really get on the level bars.

Alexey, I used to think your rather artistic descriptions for how things work were to help keep your methods a bit protected, and also avoid undue technical emphasis.  But here I think the explanations are just unclear, so want to see if we can do better.

I use GlissEQ and like it very well, as you many know from earlier conversations.

In the questions above, though, there is something that doesn't add up - which is why you get asked twice (and now three times).

The underlying question is, does the dynamics principle in GlissEQ give more or less filter effect, with increasing signal level or transience?

In the replies or explanations above, it seems to say there is less filter effect as 'drive' by signal grows.  Thus a peaking filter would show less as level or transience increases.  Conversely, the filter would show more for lower levels.

I think this is sensible, and it is what I have felt about for example the 'lush' vocal filter.  The body of the sound is deepened at lower levels or less enthusiastic voice, which is what you want.  As level goes up, the effect is less, which avoids booming.

On the other hand, the same explanations above seem to indicate that negative filtering (a notch filter for example) would be increased as 'drive' grows.  This is not apparently what one would want, and actually doesn't make sense by electronic/software design either, does it?

I hope I give you the chance here to comment in another manner from before - we can interpret between all comments to try to understand best!

Thanks, Aleksey, and hope I am right about the 'decreasing effect with increasing drive' model.



This topic was created before release of the latest product version, and it may contain details irrelevant to this version.  Replying is disabled for this topic.