![]() ![]() Most audio-oriented EQ’s use IIR filters like ours, and have a similar set of restrictions on the behavior of the more “classical” filters. There is some published research on fractional-order filtering approaches, and FIR-based EQ’s can do it too (more computationally expensive, and less common), but this isn’t functionality I’ve seen too often in the wild. ![]() That is how I would begin if I were trying to figure out a hash curve. The easiest answer is to use shelving filters instead, since these are specified differently, and you can make very gentle slopes by adjusting the Q. This is why it is a dropdown with fixed options in 6dB increments and not a continuous slider in Roon. The deeper slopes are achieved by cascading those to make higher-order filters. Theres a common area where overlapping frequencies tend to build up in a typical rock mix and that is around. A first order classical analog low/high pass filter has an inherent 6dB/octave slope. mixing low end with eq high pass filters. Here’s a 48 db/octave high pass filter at 30 Hz on a bass track: Close your eyes and move the filter up until you start to hear a negative impact on the sound. The slopes for these filters are a result of their topology. To get rid of this sub-sub-bass, use a steep high-pass filter to EQ it out. Contrary to to high pass, the cut is made from the right side to the left. It is used to filter out the high frequencies allowing only the sounds below the cut off points to pass. The filters in Roon’s EQ (like most digital EQ’s) are modeled on classical analog filters. The low pass filter does the same thing as the high pass, but on the upper part of the frequency spectrum. ![]()
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