On the dLive we can adjust the high-pass slopes. It would be awesome to have several options like this on the SQ, even a straight vertical cut with no slope at all. I would most definitely use that when I go to venues that maybe can’t handle all the low-end information that we would normally use, as well as being a great tool for tracking with the SQ in a studio environment.
+1
Jordan, it seems you don’t know too much of how filters work. Otherwise you’d know what a “straight vertical cut” would imply, why it’s not wise to use such filters in a musical environment and so why that won’t be an option.
As far as how creating it in code would work, no. I have no idea. I do know, however, that there are many different types of HPF slopes. I also am aware of several plugins that give you about a 96dB/Oct. cut and I don’t think it’s unreasonable to have as an option for live sound, theatre, and broadcast environment. I appreciate your opinion but I also don’t think adjustable slopes are a bad thing to suggest, considering we already have them on the dLive.
I didn’t say adjustable slopes are a bad thing, but anything above 24dB/Oct won’t be very musical, especially at frequencies below 200Hz. And that’s what I’m talking about. Every filter introduces a group delay. The steeper the filter, the higher the group delay. 100Hz with 24dB/Oct. already introduces 10ms of said group delay, depending on the characteristics. Now double that for 48dB/Oct and double it again for 50Hz instead of 100Hz. Do you see where this is going and why it’s not reasonable in a live environment to have a 48dB or even 96dB option? 24dB is already something where you have to take the implications of that into account.
Yes, that actually makes a lot of sense - I hadn’t considered that. Although, I still would like some ability to adjust the SQ’s HPF like the dLive can. I believe the dLive (if I’m remembering correctly) has 12, 18, and 24dB/oct slopes. Even that would suffice for me.
+1 (to the 12-18-24dB/oct options)