By "frequency range" I was referring to the fact that processing can selectively be applied to a specific part (e.g. with a bell curve placed between 2-7k) rather than "wideband" on the entire signal like some other plugins are set to do.Jac459 wrote: Wed Dec 11, 2024 7:25 amMore a curious question than a trick questionNiowiad wrote: Wed Dec 11, 2024 7:18 amSounds like a trick question... spectral dynamic processing has been out in a whileJac459 wrote: Wed Dec 11, 2024 6:29 amWhat do you expect to do with spectral processing?Niowiad wrote: Wed Dec 11, 2024 6:17 am Q3 was very underwhelming for me... I ended up upgrading out of boredom after like 3 years on a black friday sale.
It has been my go-to eq but I've been using it in the exact same way I used Q2.
Not even once I went for the dynamic option for its lack of A/R parameters.
This one finally looks much more interesting and it makes me want to buy right now at launch.
Specifically the A/R time constants on the dynamic side and spectral processing are substantial upgrades in my view.![]()
For starters and quite frankly we don't know how everything is implemented in Q4 yet.
But assuming it provides the ability to set spectral processing and time constants on a curve, the benefits would consist in being able to more closely detect and target specific resonances on a given frequency range, rather than subtracting the entire curve shape on that range.
This can provide a "cleaner", less "destructive" processing on the source material, but obviously that must be evaluated by ear on a case-by-case basis.
Currently I have MSpectralDynamics for that, which is nice but I wouldn't mind an all-in-one solution of standard eq with added standard and spectral dynamic processing, if Pro-Q4 can provide it..
And I am happy with your answer.
I don't know if there is a definition of spectral processing but for synthesis I often see it associated to the decomposition of sound in sine waves. Here your definition is less extrem and you are refering to frequency ranges which makes sense in this context I guess.
But yes, similarly to the concept of spectral synthesis, when looking at audio through a spectrum analyzer those are all sinewaves composing the whole sound.
If some sinewaves (due to a variety of reasons in recording and production) get to be too prominent or offending, they're usually called "resonances" to be tamed, individually with a narrow bell/notch, or targeted in group (yet individually since it's spectral) over on a specific range.
Being able to set the range is also helpful if you had a single resonance dancing around, which would be often missed by a static notch.

