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Ok, Aleksey - I have used my usual 'audio experiments time' - after midnight on a weekend - to clear this question up myself.

I used a repeated short text reading, with envelop bars to vary level over 20 db in 10 repetitions of the reading.

Conclusions:

- level itself has essentially no effect.  You will be pleased...

- what engages GlissEQ's dynamic qualities are...dynamics.  Transients or rate of change in (probably rms) level in the source material.  For example, the expressive variations of reading, in a reading voice.  Or similar in singing or instruments.

- when the Dyn control is set high (8,9 etc.)on a given filter, the filter's action is seen less often -- apparent to ear only on the input level transients, input dynamics.

- by comparison, with low settings of Dyn (0,1), the filter becomes constantly active in a normal way at its frequency and depth settings.

- Thus higher Dyn settings _reduce_ apparent filter action, except at the all-important transients, where the filter is smoothly engaged in and out through the transient, and either raises or lowers gain in its filter region during the moment it's 'in'.

- The end result: with Dyn set high, the filter effect 'punches' only on input transients.  On a vocal, that means you get the filter effect just for those instants.

- As an example, for the bass peaking setting of the British Lush preset, you get that extra bass just when the voice signal is rising or falling (a transient) in its speech or singing, as at the edges of words.  This gives 'punch', but not blurriness and booming during most of the voice tone, because level it is neither rising or falling during those times, so the filter is out.

- The same in reverse would be true for a dipping filter - this would soften transients, and again not effect the non-transient portion, so long as Dyn is set high.

- Seeing how Dyn works, just as a control on where a given filter is applied, takes away the confusion as to any difference between using peak or dip filters: there is no difference.  Dyn just controls the amount of application for any filter.

I hope it is clear, and some contribution ;).

The effects of GlissEQ -- it's very good and very useful, of course.  I like it as a good parametric equalizer, as well as to use the dynamics.

Kind regards,

Narration


Narration, I'm glad you've revealed GlissEQ's behavior yourself - it is far better than a thousand of my explanations.

Aleksey, I am glad you approve ;).  We are probably two 'school-teachers' here...

I had this thought.  I think you are quite a bit of the 'use your ears' school, and we do - it is why we like your products.  Often enough too, we need their effects right away, to make something in work sound better, and we just use them, through your presets.

The issues come perhaps later, in trying to adjust further, and that's where the 'how does it really work' discussion starts.

This leads me to consider how the value you are providing works, a little more clearly.  You often provide products which exploit more 'edges' of a sound.  In particular, many engage transient edges, while others look at multiple time or frequency domains.  The key to _using_ your additional adjustment points is to understand the balances better, which is not just physics, but psychoacoustics (the study of how human ears actually respond to complex sounds, and what they privilege in their hearing).

So I think your presets are not just an 'extra addition', but a powerful part of the bargain.  You and your ears, perhaps with other knowledge, are giving us not just the tools, but the basis points in how to use them.  These basis points are often 'enough' for much improvement.

What can be made of this observation?  Well, as you do, I leave some of the working out to you.  But I offer the ideas in appreciation, and hope you find some interesting thoughts for future, when it is their own time to begin arriving.

All the best, Aleksey, and it's been good to talk with you over a few years now.

Regards,

Narration


Thanks for your thoughts!

You are welcome!
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