<html><head><meta http-equiv="content-type" content="text/html; charset=utf-8"></head><body dir="auto"><div></div><div>I think those curves are rather crude. Mostly they are some kind of average over all notes. When I want to do this kind of shaping I use my big 36 stage fixed filter bank. Definitely worth experimenting with, imo.</div><div><br></div><div>Ian</div><div><br>On Jun 11, 2018, at 9:32 AM, Elain Klopke <<a href="mailto:functionofform@gmail.com">functionofform@gmail.com</a>> wrote:<br><br></div><blockquote type="cite"><div><div dir="ltr"><div class="gmail_quote"><div dir="ltr"><br></div><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">I believe these plots are of the overall instrument response, not of individual notes, correct? You didn't give us any details, but that's what they usually are. More or less the formant response. So probably a fixed frequency filter is what you would be wanting, not a VCF. Could you give us more details, like perhaps the figure caption?<br><br></blockquote><div><br></div><div>This is correct. The article is "Dynamic Changes of Orchestral Instruments" by David A. Luce from the AES E-Library (obtained legally). It talks about the timbre or tone quality of the overall instrument in a simplified manner. So yes, fixed filters are preferred.</div><div><br></div><div>Rutger mentioned spectral tilting of parallel filters and that got me thinking about the tone control from the Big Muff Pi. I fired up the Tone Stack Calculator and played around with the values and it "seems" like I can get the responses that I'm looking for.</div></div></div>
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