u/TF3RDL

BTW, the multiband detection part uses the same sliding windowed infinite Fourier transform (SWIFT) algorithm I've implemented for my own filter bank spectrum analyzer project on CodePen, for spectral analysis to generate a summed filter bank output sample-by-sample (unlike FFT) but like FFT, it is complex-valued and so it uses the magnitude part just like FFT spectral analysis found in Audiosurf games

BTW, this algorithm are cascaded in series, thus making it a cascaded sliding windowed infinite Fourier transform (cSWIFT) on higher order filters and it resembles a Gammatone auditory filter bank and unlike FFT, the filter bank's native frequency spacing can be logarithmic or perceptually-based like Mel/Bark/ERB and not just linear

TBH, this post wasn't made using AI and also, complex-valued filter bank is basically a shortcut for low-distortion with zero attack/release times as it doesn't even need an actual Hilbert transform to generate "rippleless" envelope for each filtered signal as taking a magnitude of complex-valued outputs are naturally rippleless in terms of envelope right?

And BTW, here's a video example of this wideband compressor/limiter driven by multiband detection thing, which I've made because I'm curious about AudioSurf algorithm and how does it uses spectral analysis just to estimate the "song intensity" value thing?

And also, the sensitivity to bass (or more accurately, tonal signals) depends on the method is used for summing all filter bank magnitudes into one value; arithmetic mean are more sensitive to bass/any other tonal signals than geometric mean but less sensitive to tonal signals than RMS average, considering that bass on most EDM songs are mostly tonal (hence lower sensitivity) though this reduced sensitivity also applies to tonal signals that aren't bass too. especially when AudioSurf algorithm doesn't register loud high-frequency tonal signal as "intense", especially with this video I've made about AudioSurf vs. test tone compilation thing

And this low-distortion while being fast-acting nature of this setup on this video above probably inspired me (and even few others sometimes) an idea of "Adaptive" style for FabFilter Pro-L3 limiter plugin inspired by Tone Projects Uni-L algorithm-wise, which are frequency-dependent in terms of ballistics of the brickwall limiter effect (with the brickwall stage are superficially similar to FL Studio/Image-Line's Emphasis plugin's shaping limiter stage albeit with frequency-dependent "Hardness" parameter with lower/less-distorting values for bass, higher/more-distorting values for trebles and somewhere in-between instead of being fixed and manually-adjusted)

though it is less likely to kill the whole team if the grenade doesn't explode (as direct hits kills one people and not everyone else and requires more precision to kill one, superficially more similar to Kraber with ricochet rounds in Titanfall 2) right?

yeah aside being not post-apocalyptic (unlike Golf Club: Nostalgia/Golf Club: Wasteland and Death Stranding 2: On the Beach), it is the currently the closest thing to a Death Stranding 2 golf minigame/side activity especially with stealth and/or combat during golf and every shot requires a manual traversal thing

and so, it is basically more like Mario Golf: Super Rush speed golf mode but with Death Stranding 2-esque stealth, combat and enemies than Super Battle Golf?

yeah, but how about FabFilter collaborating with Dylan Fitterer (developer of audio-reactive games like AudioSurf, Audiosurf 2 and AUDIOMECH) to develop a new "Adaptive" style (and even the sister "Smooth" style) for FabFilter Pro-L 3 limiter plugin where it is wideband limiting driven by multiband detection (similar to Tone Projects Uni-L) and it remains approachable/macro-based (like Pro-L2 and Ozone 12 Maximizer module) as opposed to being component-based/micro-based like Uni-L?

Especially when Tone Projects' Uni-L multiband-driven wideband limiter plugin has such steep learning curve (as you can tweak the internals for the limiting algorithms more than lookahead, attack and release times) despite having a quick start menu and in-addition, same settings for one song probably wouldn't sound good on another song right?

And so, the "Adaptive" style for Pro-L3 would be automated/macro-based version of this concept of wideband limiting driven by multiband detection that where the same setting would work across different songs and even sometimes different genres, which would demand psychoacoustic research and/or Dylan Fitterer's level of trial-and-error method of making this algorithm work transparently across most songs with minimal tweaks and retain the generous learning curve of Pro-L2 multistage limiter plugin right?

though steep learning curve of Uni-L made me want an "Adaptive" style for FabFilter Pro-L3 that is envisioned as a single-band/wideband limiter driven by multiband detection (perhaps using a minimum-phase complex-valued auditory filter bank) right?

Especially with FabFilter plugins are generally approachable

so, this game is basically like Mario Golf: Super Rush's speed golf mode but with a Death Stranding 2-esque combat or something else?

the NPCs attacking you part of this did inspire me the idea of golf minigame/golf side activity for Death Stranding 2 (Director's Cut or Extended Cut version maybe?), especially with crossgolf part of this idea I had in mind, especially when this type of golf in this DS2DC/DS2EC idea is where existing DS2 map (Mexico and Australia) are recontextualized as a "golf course" and so, encounters with enemies like Bandits in Mexico as well as Brigands and Armed Survivalists in Australia, BTs/beached things, and even mechanical enemies (aka. Ghost Mechs) are pretty much inevitable at some point during golfing and so I've also have an idea of a dedicated links course as a "safe haven" for golf activity in this Death Stranding game idea that doesn't involve human enemies nor any other hostile entities at all

And BTW as GTA V golf minigame automatically cancels when combat breaks out and Spheda minigame (which is golf-like) in Dark Cloud 2 requires clearing the enemies first before playing, this game is probably the closest thing to an open-world game with a golf minigame on it where combat and enemy presence don't automatically cancel golf minigame at all until DS2: OtB DC or DS2: OtB EC came out with golf activity/golf mini-game on it right?

yeah but on unrelated note, how about adding a partial bypass feature (e.g. bypassing only the brickwall stage to let peaks to exceed the ceiling, or even bypassing only the leveler stage to allow the brickwall stage to work at maximum capacity)? which could be useful for serial limiting with multiple limiter plugins right?

yeah and BTW, the integration of FabFilter Pro-L3 into the instance list of FabFilter Pro-Q4 would be most sensible change from FabFilter Pro-L2 right?

especially with FabFilter have to be really careful to introduce new stuffs into their plugins when comes to major version updates

yeah, K-weighting are basically like 12dB/octave high-pass filter at 80Hz and a high-shelf filter at 1.5kHz with +4dB gain boost, at least on my own multichannel peakmeter visualization project that featured a realtime LUFS meter as I've implemented the LUFS measurement from scratch

BTW on unrelated note, how about internal multiband loudness estimation algorithm like Jones & Torick's CBS loudness meter?

Which I've implemented the core behind this measurement used in CBS Loudness Meter for the internal sidechain of the leveler stage for my own web-based multistage limiter effect, albeit either without frequency weighting or the same K-weighting as LUFS (depending on "sidechain prefiltering amount" parameter on this project I've made) and the filter bank is complex-valued instead of analog-style real-valued one

yep, think of this (a dynamic EQ with absolutely no smoothing for the gain modulation) like a "multiband saturator" but with something similar to FabFilter Pro-MB's dynamic phase mode instead of traditional crossover filters like in FabFilter Saturn 2 and other multiband saturators and multiband compressors

I guess u/Dan_Worrall (a guy behind YT videos on FabFilter's official YouTube channel) could describe this better right?

yeah, though the idea of "Adaptive" style would be a low-latency, computationally efficient alternative to IRC III algorithm (which uses FFT and a psychoacoustic model but since it is still a single-band limiter, it doesn't even use an inverse FFT) found in iZotope Ozone 12 Maximizer module (though it also appears on earlier iterations down to iZotope Ozone 5), even with multiple envelope followers for the brickwall stage in parallel (much like IRC III algorithm superficially)

And this style I've envisioned are also a simplified version of Uni-L (especially with its multiband internal sidechain) with fewer, simplified controls but with more frequency bands (instead of three adjustable bands, it would have ten bands spaced equidistantly in psychoacoustic equivalent rectangular bandwidth/ERB scale)

though some plugins like even FabFilter Pro-L2 in "Aggressive" style did change its behavior depending on whether or not it is driven by internal gain boost (using the gain slider) or an external gain boost (from somewhere else), even to the same amount with much more distortion on the latter

Yeah I know and on unrelated note, how about iZotope Ozone 12's Maximizer (in single-band IRC III mode that uses a psychoacoustic model as well as IRC IV with its spectral shaping and IRC V being a multiband limiter)?

BTW, Tone Projects Uni-L limiter plugin is not even a multiband limiter, and instead a single-band limiter that internally uses multiband processing, which is why lookahead times are frequency-dependent and this inspired my idea of "Adaptive" and even "Smooth" (distinct from "Smooth" style of the same name in FabFilter Pro-C3) styles for FabFilter Pro-L3, which are essentially wideband limiters driven by multiband detection but within FabFilter ecosystem

And on that note, the fact that using a complex-valued filter bank (which naturally extracts an envelope without doing a separate Hilbert transform when converted to magnitude using absolute value (f(x) = abs(z) or |z|) in mathematics) as an internal sidechain input for a limiter effect has little to no audible distortion even with truly zero attack and release times (i.e. no time smoothing at all) gave me an idea of frequency-dependent attack/release times for FabFilter Pro-L3 (especially with faster brickwall limiter stages) to reduce distortion while having faster release times possible, especially with some new styles I've envisioned above

Yeah I've use that, though I'd prefer no conversion (meaning it would be either Opus or AAC, not MP3) during download as I've wanted to avoid lossy-to-lossy conversion-related generation loss

BTW, I've implemented internal multiband sidechain processing (which uses a Gammatone-like filter bank using a cascaded sliding windowed infinite Fourier transform I've made for filter bank spectrum analyzer project) for the leveler stage to my own multistage limiter effect project, and so you can play around with that (especially by increasing the number of bands to anything more than one and setting "sidechain prefiltering amount" parameter to zero so that it doesn't apply a K-weighting filter), after I've played around with FL Studio's Patcher (using several bandpass filters for each FabFilter Pro-Q4 instances and then rectify them using Fruity WaveShaper before summing into one and fed into the external sidechain input of FabFilter Pro-L2)

And also for sidechain EQ in Pro-L2, it is also easily done using FL Studio's Patcher (e.g. audio input is fed into both FabFilter Pro-Q4 and FabFilter Pro-L2 with Pro-Q4 output being routed into external sidechain input of Pro-L2, which goes into the actual audio output whereas Pro-Q4 is only routed into external sidechain input), though it behaves a bit different from proposed Pro-L3's priority EQ on single-band/wideband/broadband mode

Especially with the idea of new "Adaptive" and "Smooth" styles I've envisioned for FabFilter Pro-L3 where the slower stage uses summed filter bank output (which would use a complex-valued version of Jones & Torick's CBS loudness meter's filter bank) as an internal sidechain input, which would inherently reacts less to bass even without any frequency weighting at all, much like AudioSurf's algorithm (especially with its song intensity "measurement" read as less intense on bass heavy songs and tonal sounds IIRC)

and how about a priority EQ thing (especially on wideband mode) where boosting a frequency would make leveler stage dominate and cutting a frequency would make brickwall stage dominate, making it superficially similar to sidechain EQ found in FabFilter Pro-C3 except it is more of transient/release stage activity redistributor for each frequencies?

Especially when I've implemented a sidechain prefiltering (which is K-weighting filter that LUFS meters uses, though priority EQ in FabFilter Pro-L3 would be any curve just like sidechain EQ in FabFilter Pro-C3) for the leveler stage of my own web-based multistage limiter effect project on CodePen, which you can play around with "sidechain prefiltering amount" and "first stage overshoot limit" parameters

BTW, because of priority EQ idea I have, the filter bank (that drives both Adaptive and Smooth styles) wouldn't be weighted in frequency (unlike Jones and Torick CBS loudness meter that Orban uses) and instead it lets priority EQ curves weigh the filter bank output in frequency

And also for the leveler stage on the "Smooth" style I've envisioned for FabFilter Pro-L3 limiter plugin, it can behave superficially like a typical compressor with fast enough attack and release times