These spectral devices operate in the frequency domain, working with hundreds of individual frequency bands. The current devices are all audio processors that analyze the incoming signal to group them, then putting the groups onto channels that work in the regular amplitude domain.

Freq Split

Divides the signal into adjacent frequency groups and then sorts them into one of the four channels, for individual mixing and processing.

The Frequency Split parameter sets the number of splits across the frequency spectrum. Split Insertion Direction sets whether additional splits are added from the right/high edge of the spectrum (←), from the left/low edge of the spectrum (→), or in the middle (↔). Crossfade Amount determines the overlap between splits. These three parameters are the primary split parameters. So with the device's default settings, a Frequency Split number of 16 with a Split Insertion Direction putting new splits on the right/high end (←) means:

  • The 1st, 5th, 9th, and 13th splits land in channel 1 (red)

  • The 2nd, 6th, 10th, and 14th splits land in channel 2 (blue)

  • The 3rd, 7th, 11th, and 15th splits land in channel 3 (yellow)

  • The 4th, 8th, 12th, and 16th splits land in channel 4 (magenta)

  • And if the Crossfade Amount was increased from 0.00 % (full isolation between bands) to 50.0 %, then each split would spend its first 25 % crossfading with the previous split, and its last quarter crossfading with the next split.

Split Nudge slides the frequency splits by an offset value, so a setting of +2.00 pushes the contents of channel 1 into channel 3, channel 4 into channel 2, and so on. Split Spin also slides the frequency splits but relative to the entire spectrum; so a setting of -10.0 % slides all the splits a tenth lower in the entire spectrum. Whether being subtle (Split Nudge) or extreme (Split Spin), modulating either of these parameters shows the "filter bank" quality of this device, creating new phasers and more when each channel is loaded with different audio FX.

Split Bend curves the frequency split pattern around a new midpoint, either moving the midpoint downward and putting splits closer together in the lower frequencies (negative values) or moving the midpoint higher and having splits closer together in the upper frequencies (positive values). Split Pinch kinks the frequency split pattern, either bunching more splits around the midpoint (positive values) or putting more splits into the sides (negative values). In the device's display, the interactive white dot controls Split Bend when dragged left to right, and Split Pinch when dragged up and down.

There is also a Spectral Limiter option (enabled with the Limiter toggle in the output section). When enabled, this caps each individual frequency band at the set Spectral Limiter Threshold so louder bands will be capped and any band below this threshold will be unaffected. When the Spectral Limiter is enabled, the Threshold is shown in the device's display with a horizontal orange bar that can be dragged up or down.

There are two Spectrum Display modes: Pre shows the analysis data (and no audio processing from the channel controls, unless the Spectral Limiter is on); Post shows each channel's output audio, post-processing.

Harmonic Split

Tracks the fundamental of the incoming sound, for splitting Nonharmonics (gray) to one channel and dividing harmonics between Harmonics A (orange) and Harmonics B (turquoise) channels, for individual mixing and processing.

The Harmonics Pattern parameter decides how harmonics are distributed between the A and B channels:

  • The default setting of 2 places every 2nd harmonic in A channel, so the A channel will be odd harmonics (1st, 3rd, 5th, etc.), and the B channel receives all even harmonics (2nd, 4th, 6th, etc.).

  • A setting of 4, for example, would place the 1st, 5th, 9th, etc. harmonics in channel A, and all other harmonics (2nd, 3rd, 4th; 6th, 7th…) into channel B.

  • Higher values lead to narrower results in the A channel — and the potential for more extreme processing without "getting into trouble".

  • A setting of 1 is special, routing only the fundamental to channel A and all other harmonics to channel B.

Nonharmonic Sensitivity is a relative control for how picky the harmonic vs. non-harmonic split is. A higher value allows less audio into the Nonharmonic channel — and more audio into the two Harmonics channels.

The Maximum Harmonics Inspector parameter allows you to limit the number of harmonics being tracked, acting as a "ceiling" when you want fewer frequencies in the Harmonics A and Harmonics B channels.

Fundamental tracking can be adjusted with several analysis parameters, all colored purple:

  • Tilt favors the high frequencies (when positive) or low frequencies (when negative), useful when the desired fundamental is filtered in the sound, etc.

  • The Low-cut Frequency and High-cut Frequency parameters narrow the frequency tracking area.

  • An amplitude Detection Threshold can be set, keeping moments that stay below that level in the Nonharmonics channel.

  • In the device's display, the Detection Threshold and High- & Low-cut Frequencies are interactive lines that can be dragged.

  • The device display also illustrates the currently-detected fundamental with a white dot and moving crosshairs.

There are two Spectrum Display modes: Pre shows the analysis data (and no audio processing from the channel controls); Post shows each channel's output audio, post-processing.

Loud Split

Uses two thresholds to separate the Quiet (green), Mid (yellow), and Loud (red) portions of the incoming sound, for individual mixing and processing.

A Higher Threshold (red) sets the level where stronger signals are considered Loud. A Lower Threshold (green) sets the level where weaker signals are considered Quiet. Any signal falling between the two thresholds is considered Mid. And each threshold has its own Knee value, for setting the transition (and effective crossfade) between adjacent channels.

In the device's display, both thresholds are visualized as horizontal lines, which can be dragged up and down. When clicking a line's dot handle on the right, only the outer band of that threshold will be heard while the mouse is held. And ALT-dragging on either threshold adjusts its Knee parameter.

Relative Loudness Mode follows the level of the incoming sound, treating 0.0 dB as the strongest band at any given moment. (This mode uses its own Relative Higher Threshold and Relative Lower Threshold parameters.)

Rise Time sets the number of blocks before a softer signal fully transitions up into a louder band, like a "resistance" parameter. Fall Time sets the number of blocks before a louder signal fully falls down into a quieter band, like a "decay" parameter. And Tilt is an analysis parameter, favoring the high frequencies (when positive) or low frequencies (when negative) before the channel splitting is applied.

There are two Spectrum Display modes: Pre shows the analysis data (and no audio processing from the channel controls); Post shows each channel's output audio, post-processing.

Transient Split

Separates the Transients (short, unstable sounds; colored yellow) and Tones (periodic or pitched sounds; colored blue), for individual mixing and processing.

The Transient Type Inspector parameter switches between two different algorithms for which type of Transient is being looked for: Percussive mode searches for typical impact transients, good for drums or other things that "click" and "smack"; Noise mode looks for noisy smears, or even reverb residue.

Transients Decay sets a time (in blocks) for extending detected Transients, allowing them to release. Tones Smoothing sets a time (in blocks) for extending detected Tones, allowing them to decay. And the Analysis Bias slider on the left of the displays skews the detection to favor more Transients (positive values) or more Tones (negative values).

Tilt Amount is an analysis parameter that is colored yellow as it is oriented to how it affects the Transients channel; its effect is the opposite for the Tones channel. And the Tilt Mode Inspector parameter changes the method of Tilt applied, between a Standard model that favors the Transient channel's high frequencies (when positive) or its low frequencies (when negative), or a Contour approach that subtly adjusts the mid frequencies vs. the highs & lows.

Transient/Tones Blend is the slider at the end/right of the spectral section, for balancing the audio output before each signal reaches its channel.

There are two Display Style modes: Waveform shows a split amplitude-domain representation of the two groups; Sonogram offers the recent frequency-domain history for each group.

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