How to Set the Subwoofer Crossover Frequency?

Hello, I’m Jooyoung Kim, an engineer and music producer.

In my previous post, I mentioned that I had written a paper on subwoofers, right? On August 12, my paper, Group Delay-Driven Crossover Optimization for Subwoofer Satellite Systems at Listening Position, was officially published.

I had planned to write about it as soon as the paper was out, but time has been tight lately… ^^;;

This post is about how to set the crossover frequency for subwoofers.

The motivation behind this was pretty straightforward. Not only studios but also many individual users incorporate subwoofers into their setups. However, there’s surprisingly little guidance out there on how to properly set the crossover frequency.

I myself use two subwoofers!

From a perceptual perspective, there are papers suggesting that humans don’t easily perceive directionality below a certain frequency (say, a few Hz), so the crossover should be set below that threshold. But when it comes to numerical analysis, the only paper I could find was Dr. Bharitkar’s Automatic Crossover Frequency Selection for Multichannel Home-Theater Applications.

In that paper, the claim was that a flatter frequency response in the low-frequency range is ideal. However, dips in very narrow frequency bands often don’t show up clearly in numerical calculations of variance.

I was convinced there had to be a better approach. So last summer, I bought a measurement microphone and started taking measurements without a clear plan.

By experimenting with different crossover frequencies, I collected a ton of data and made an initial discovery: there’s a correlation between Group Delay (or Excess Group Delay) and the frequency response.

After trying various configurations, I found that Excess Group Delay wasn’t as strongly correlated, but peaks in the Group Delay (whether positive or negative) corresponded to dips in the frequency response. Moreover, the smaller the absolute value of the Group Delay, the less pronounced those dips became.

I conducted experiments in a university classroom and my own workspace, using a Finite Element (FE) model to demonstrate this correlation. My conclusion was that the crossover frequency should be chosen to minimize the maximum absolute value of the Group Delay in the low-frequency range.

Here’s the mathematical expression for it:

Looks a bit daunting, doesn’t it? ^^ Let me break down the terms:

  1. ω_oc: The optimal crossover frequency (frequency is typically denoted by ω).
  2. ω_LC: The lower bound of the crossover frequency (Low Crossover).
  3. ω_HC: The upper bound of the crossover frequency (High Crossover).
  4. GD(ω_i): The Group Delay value at frequency ω_i.
  5. α, β: Correction factors for the low-frequency range.

I included α and β because I noticed that Group Delay can vary significantly outside the adjustable crossover frequency range. These correction factors help account for that.

Setting the crossover frequency this way not only benefits phase response (since Group Delay is the rate of change of phase) but also improves the frequency response. (For those diving deeper: this is trivial in minimum-phase systems, but real-world systems aren’t always minimum-phase, which makes this approach meaningful.)

Additionally, I applied 4th-order Linkwitz-Riley filters to both the satellite speakers (the main speakers in a subwoofer-satellite system are often called “satellite speakers”) and the subwoofer, while carefully aligning timing and phase. These conditions are critical for the approach to work.

I was working on a tool to automatically measure and output audio based on this method, but analyzing the data to select the optimal crossover frequency turned out to be quite time-consuming. With other papers and projects piling up, I’ve had to put it on hold for now.

If I get some free time, I’d love to revisit it. It’d be amazing if a company like Genelec saw this and added it as a feature… haha. And if they wanted to sponsor me, that’d be even better… ^^;;

I tried to explain this in a straightforward way, but the topic itself isn’t exactly simple, so I hope I got the point across clearly! 😅

If you’re curious about the detailed setup or experimental process, feel free to check out the paper or reach out to me directly.

Until next time! 😊

Safari Pedal Launch Sale (Ends Aug 31)

Hello! This is Jooyoung Kim, mixing engineer and music producer.

If you play electric guitar, you might already know Safari Pedals. They’ve just joined Plugin Boutique — and to celebrate, they’re running a launch sale!

(If you purchase through the link in this blog, I’ll receive a small commission, which helps keep my work going. Thank you for your support!)

[link]

Safari Pedals specializes in electric guitar pedals, cabinets, and related gear. True to their name, most of their effects are themed around animals — complete with animal names and illustrations.

They have quite a wide lineup, so here’s a quick overview:

PluginDescription
Gorilla DriveAnalog-style drive
Time MachineVintage-style compressor and filter, covering retro sounds from the 50s to 80s
Yak DelayUnpredictable delay patterns, in collaboration with Dan Mayo
Flamingo VerbFour reverb types (IR-based Room, Plate, Spring, Hall)
Lion MasterTrue peak limiter
Fox Echo ChorusModeled after the Roland RE-201
Dirty Dog ReverbReverb + distortion, in collaboration with Joe Chiccarelli
Owl ControlFour different compression styles
Rhino ReverbVintage hi-fi reverb inspired by the 60s–70s
Dragon EQ3-band EQ + drive
Ladybug ReverbLo-fi style reverb
Rabbit TapeTape plugin with cassette and reel-to-reel modes
Camel StripVintage-style compressor + EQ channel strip
Cobra FuzzAnalog-style stereo fuzz
Hawk PhaserColorful vintage phaser
Zebra ClipperVersatile clipper
Bull Sub MachineLow-end enhancer based on Leslie Brathwaite’s signature sound
Silver LlamaAmp modeled after Silvertone amps (included in Planet of the Amps bundle only)
Twin PandaAmp modeled after Fender Twin Reverb (bundle only)
Sun BearMastering-grade bus compressor
Level-OrCompressor/limiter based on Standard Audio 500 series hardware
Cassette BunnyVintage tape lo-fi sound
Falcon Air EQHigh-frequency enhancer EQ

All of these are included in the Everything Bundle. Instead of covering every single plugin here, I’ll highlight a few that stood out to me.


Gorilla Drive

Personally, I believe the simpler the pedal, the better. Too many parameters can slow you down and give you a headache when dialing in tones. That’s why I like straightforward tools like Gorilla Drive.

It has a Tilt-style “Tone” EQ in the middle, making it intuitive to shape your sound. Tonally, I’d describe it as a smooth, warm drive — but of course, sound is subjective, so try it for yourself.


Cassette Bunny

This one nails that soft, vintage cassette tape vibe — with rolled-off highs and extreme lows. In Studio Mode, the bandwidth opens up for more high-end saturation, but I actually preferred Home Mode for its character.

Great not only for lo-fi music, but also for adding subtle texture to background guitars.


Silver Llama (Planet of the Amps bundle)

Within the amp bundle, the Silver Llama really caught my ear. The FX Spring reverb in particular feels very wide and has a noticeable out-of-phase character.

The bundle also includes standalone FX plugins, so you can use just the effects without the amp if you want.


Yak Delay

This is a wild one. Hit the Random button along with the Sync button, and every delay parameter starts shifting in sync with the beat. Perfect for ambient music or experimental textures. I’ve never seen a delay behave quite like this before.


Fox Echo Chorus

Although it’s modeled after the Roland RE-201, it also includes reverb and chorus, making it a great all-in-one spatial tool. The convenience alone makes it worth checking out — and despite the extra features, it’s not priced higher than other plugins.


Dirty Dog Reverb

This one is pure attitude — a wide, spacious reverb drenched in distortion. While it’s obviously great for rock, it can add grit and depth to all sorts of genres.


Final Thoughts

These six are my top recommendations, but honestly, Safari Pedals’ entire lineup is well-optimized, unique-sounding, and easy to work with thanks to their intuitive controls.

The sale runs until August 31, so take your time browsing and see which ones spark your creativity.

See you in the next post!

Roland and DW Drum Virtual Instrument Launch Sale (~Aug 24, 30% Off Everything Except TR-808)

Hey there! I’m Jooyoung Kim, a mixing engineer and music producer.

Yesterday, the SONICWIRE CONTEST 2025 results were announced, and unfortunately, I didn’t make it to the final round. Looking back, I noticed a few things in my submission that could’ve been better—guess it’s time to tweak and resubmit next time! Still, I got a one-year Pro Tools license and a Sonible Essentials Bundle, so I’m not too bummed about it.


Roland Joins Plugin Boutique with a Launch Sale!

On another note, Roland (via Roland Cloud) has officially joined Plugin Boutique! To celebrate, they’re holding a launch sale from now until August 24, with 30% off all products (except the TR-808).

Quick heads-up: If you purchase through the links in this post, I earn a small commission, which really helps me keep going. Thanks in advance! 😊

Roland Cloud offers virtual recreations of their iconic synthesizers, which were previously available only through a subscription model. Now, you can purchase individual instruments outright—a big win for producers! Plus, Roland’s sister brands like Boss and DW Drums are also part of the deal, offering virtual instruments like the DW Drum VST and even free Boss effect pedals.

Let’s take a quick look at some of Roland’s standout virtual instruments and the DW Drum VST.


Roland’s Iconic Virtual Instruments

JUNO-106

The JUNO-106 is the successor to the JUNO-6 and JUNO-60. As the name suggests, it’s a 6-voice polyphonic synthesizer, though the virtual version lets you choose 2, 4, 6, or 8 voices for flexibility.

The standout feature? That lush Chorus effect on the right side of the interface. Back in the day, synths like the JUNO-106 used chorus to create a stereo sound, giving it that iconic ‘80s vibe. Comparing the plugin’s presets to YouTube recordings of the original hardware, the emulation is spot-on, though the high frequencies are slightly sharper in the plugin. A touch of EQ can get it sounding nearly identical to the hardware’s smoother tone. Roland nailed the recreation here.


JV-1080 & XV-5080

Click image to purchase JV-1080 at Plugin Boutique
Click image to purchase XV-5080 at Plugin Boutique

The JV-1080 is a legendary rack-mounted PCM synthesizer from 1994, packed with iconic strings, ethnic instruments, retro stabs, and more. It’s a ‘90s classic that’s still relevant today.

The XV-5080, its successor, takes things further with a massive library of over 900 presets and a wide range of onboard effects. Both synths use the same editing engine, so you can tweak envelopes and patches for detailed sound design. The XV-5080 includes most of the JV-1080’s core waveforms and patches, but subtle differences in reverb and effects settings give each a unique flavor. Personally, I find the JV-1080 a bit thinner, while the XV-5080 has a thicker, more robust sound.

Roland also offers SRX Expansion packs for additional sounds, sold separately.


Mono Synth Collection (SH-101, SYSTEM-100, SH-2, TB-303, PROMARS)

This collection includes five iconic Roland monophonic synthesizers, perfect for crafting lead and bass lines. Here’s a quick rundown:

SH-101

Released in 1982, the SH-101 is a monophonic bass synthesizer famous in techno, D&B, and acid genres. With a single oscillator producing sawtooth or square waves, it delivers a distinctive, gritty bass tone that’s instantly recognizable.

SYSTEM-100

The SYSTEM-100 (1975) is a semi-modular monosynth known for its experimental, happy-accident-style sound design. Those patch cables scream creativity—just tweak and see what cool sounds you stumble upon!

SH-2

The SH-2 (1979) is another monophonic synth with dual VCOs and a sub-oscillator, giving it a thicker, deeper sound than the SH-101. It feels somewhat similar to a Minimoog and can be used in similar contexts.

TB-303

The TB-303 is the legendary bass machine that birthed acid house. Designed to mimic bass guitars, it flopped commercially and was discontinued in 1984. But its cheap secondhand availability made it a staple in electronic music genres like acid, house, and techno. Don’t think of it as a bass guitar replacement—its quirky, unique tone is what makes it so special. It reminds me of sounds from old-school video games!

PROMARS

The PROMARS (1979) is a monophonic sibling of the Jupiter-4, with two VCOs for a rich, detuned sound. Think of it as a scaled-down Jupiter-4 without the arpeggiator or ensemble chorus. It’s got a thick, vibrant tone that’s perfect for bold leads or basses.


Drum Machine Collection (TR-606, TR-707, TR-727, TR-909, TR-808)

Click image to purchase TR-808 at Plugin Boutique

Roland’s drum machines are absolute legends, and the TR-808 is arguably the most influential. (Note: The TR-808 is not included in this sale.) Here’s a look at the others:

TR-606

The TR-606 was designed alongside the TB-303 bass synth for seamless synchronization. Its interface is similar to the 303, and its sound is a classic in electronic music. You’ll likely recognize it when you hear it!

TR-909

Click image to purchase TR-909 at Plugin Boutique

The TR-909 is the successor to the TR-808, blending analog and sampled sounds for a punchier, more defined tone. It’s a dance music staple, known for its powerful kick and crisp hi-hats.

TR-707

Despite its name, the TR-707 came after the TR-909. It uses fully sampled sounds at 8-bit resolution (6-bit for cymbals/hi-hats), giving it a more realistic yet slightly lo-fi vibe compared to the 808 or 909.

TR-727

The TR-727, a sibling of the TR-707, specializes in Latin percussion sounds—think tropical rhythms for afrobeats, reggaeton, or Arabic pop. It shares the same UI as the 707, making them easy to sync for house music production.


DW Soundworks

The DW Drum VST is a game-changer for beatmakers. The default Maple Mahogany Natural kit is a standout—crisp snares and punchy kicks that thump in the low end with just a slight tweak. The sound quality is top-notch.

The mixer lets you control overheads, ambience, and output routing, similar to other drum VSTs. DW Soundworks comes with 13 expansion packs, including the Metal Legacy pack (7.71GB, free!).

The Plugin Boutique version also includes six additional sample packs:

  • DW 50th Anniversary Kit Expansion Pack
  • DW Maple Mahogany Expansion Pack
  • DW Pure Maple Expansion Pack
  • Slingerland Vintage 1958 Expansion Pack
  • DW Pure Almond Expansion Pack
  • Gretsch USA Custom Expansion Pack

These samples are punchy and versatile, making DW Soundworks a must-check for anyone shopping for a drum VST.


Wrapping Up

Whew, that was a lot to cover! Roland’s virtual instruments and DW Soundworks are packed with high-quality options, and with the 30% off sale (until August 24), now’s a great time to explore. Check out the links above to browse the full lineup.

Thanks for reading, and I’ll catch you in the next post! 🎶

A Tip Exporting or Bouncing FLAC and MP3 Files for Mastering (with a Bit of Python Codes)

Hey there! I’m Jooyoung Kim, a mixing engineer and music producer.

Today, I want to talk about something light but super useful: how to properly export audio files after mixing and mastering.

Let’s dive in!


The Basics of Exporting Audio Files

Once mixing and mastering are complete, you typically need to export your tracks in multiple formats—WAV, FLAC, and MP3—to send to clients or distributors.

But here’s the catch: not all DAWs make this process easy. For example:

  • Pro Tools and Logic Pro X don’t have built-in options to export FLAC files.
  • Cubase supports FLAC, but you have to export each format individually, which can be a hassle.

I’ve previously written about audio codecs in my blog series Basics of Mixing.

To recap:

  • WAV: The original, uncompressed file format.
  • FLAC: A lossless compressed format.
  • MP3: A lossy compressed format.

Both FLAC and MP3 use codecs that are freely available for encoding and decoding. So, why not use a simple script to automate the process?


Automating FLAC and MP3 Exports with Python

Here’s a quick and easy way to convert your WAV files to FLAC and MP3 using Python and the ffmpeg-python library.

Step 1: Install ffmpeg-python

First, make sure you have Python installed. Then, open your terminal (Mac) or command prompt (Windows) and run:

pip install ffmpeg-python

This might take a minute or two, but it’s worth it!

Step 2: The Python Code

Here’s a simple script to convert a WAV file to both MP3 and FLAC:

import ffmpeg

# 📂 Input file path
input_path = '/path/to/input.wav'

# 📂 Output file paths
output_mp3 = '/path/to/output.mp3'
output_flac = '/path/to/output.flac'

# ✅ WAV → MP3 (CBR - Constant Bitrate 320kbps; you can change '320k' to '256k' for different bitrates)
ffmpeg.input(input_path).output(output_mp3, audio_bitrate='320k', format='mp3').run()

# ✅ WAV → FLAC (compression_level: 0-8; higher numbers mean higher compression)
ffmpeg.input(input_path).output(output_flac, format='flac', compression_level='8').run()

Step 3: Save and Run the Script

  1. Copy the code above into a text editor.
    • Mac users: Ensure your text editor is set to plain text (not RTF).
  2. Save the file with a .py extension (like convert_audio.py).
  3. Run the script using Python (like python convert_audio.py).

Voilà! You’ll have your FLAC and MP3 files in no time.


How to Find File Paths

  • Mac: Drag and drop your WAV file into the Terminal, and the file path will appear automatically.
  • Windows: Right-click the file, select “Properties,” and copy the file path from there (you may need to adjust the path format slightly, use backslashes \).

Why This Matters

So many bars in this project.. It could be take a day if I export wav, flac and mp3 files by the export function of the DAW

Manually exporting files in different formats can be a time sink, especially for long projects like live recordings over an hour. Using this script, you can:

  • Save hours of repetitive work.
  • Quickly generate high-quality FLAC and MP3 files.

A Few Notes

  • Bit Depth and Sample Rate: For MP3 files, it’s standard to use 44.1kHz and 16-bit WAV files as the source. FLAC can handle higher resolutions (e.g., 48kHz, 24-bit) if needed.
  • Dithering: FFmpeg’s dithering options are basic, so for WAV files with specific bit depth or sample rate conversions (e.g., 48kHz/24-bit to 44.1kHz/16-bit), it’s better to handle those in your DAW for better quality.
  • MP3 Standards: Always use a 44.1kHz, 16-bit WAV file as the source for MP3 conversion to meet industry standards.

Final Thoughts

This is a super basic tip, but I couldn’t find many clear guides on this topic online, so I wanted to share it with you. If you’ve never coded before, this might seem intimidating at first, but trust me—it’s straightforward and will save you tons of time.

Give it a try, and let me know how it goes! Until next time, happy mixing! 🙂