# Method for Resonant Frequency Attenuation in Dynamic Audio Equalizer
## 1 Introduction
The attenuation calculated between the average of the difference of the two arrays is used to calculate the coefficients of the filter bank with thirty second-order Peak IIR filters to process the input signal. These kinds of filters are used to control a narrower frequency band: they produce a bell-shaped curve affecting only the frequencies in a specific range [5]. According to [PERSON] and [PERSON] [1], in a typical equalizer, all sections are composed of second-order Peak filters because these filters produce smooth transitions that are advantageous in that the effect of equalization is subtle and not perceived as an artifact. The input signal is processed through a second-order filter section with the objective of attenuating resonant frequenciesthat fall outside the threshold curve (which has the general shape of the spectrum) of the input signal. This is achieved in order to smooth out artifacts in the input signal. Twenty audio files from different sources obtained from various multitracks from the Mixing Secrets For The Small Studio - Additional Resources library by Cambridge Music Technology are analyzed to compare the response of our work with the response of commercial plug-ins. The amount of attenuation obtained according to the Root Mean Square (RMS) level and Loudness Units Full Scale (LUFS) metric is analyzed. An octave band analysis is also conducted using the Wavelet transform to obtain a logarithmic spectrogram of the frequencies over time of each signal. This analysis allows for the attenuation produced by each plug-in to be quantified. The attenuation is expected to be in the range of \(-10\) dB to \(-0.25\) dB, since the human ear can detect minimal changes of \(0.25\) dB at high levels [14]. If a sound is reduced from \(6\) dB to \(10\) dB, the human ear will perceive this reduction as half the loudness of the original sound and this will affect the harmonic content of the audio signal [15]. It is important to analyze the most sensitive frequencies of the human ear, between \(1\) kHz and \(4\) kHz, based on the equal loudness curves [6]. To confirm that the attenuation was indeed at resonant frequencies, a scorer's agreement was made. In this agreement, \(40\) people involved in audio and music were asked if the perceived attenuation was at resonant frequencies in different frequency ranges. Seventy-four percent of respondents confirmed that such attenuation occurs at resonant frequencies. The method's contribution lies in its capacity to adapt to any type of audio input. It is developed as an audio plug-in in Virtual Studio Technology (VST) format. The VST format was developed by Steinberg in 1996 and is currently the most widely supported format within the majority of Digital Audio Workstations (DAWs) currently available on the market. As mentioned by [PERSON] [2], in order to go beyond some limitations imposed by the use of commercial tools, the use of audio plug-ins allows direct comparison with these commercial tools due to the VST standard. Finally, it offers a higher attenuation than other plug-ins in factory conditions, with a resonant frequency detection response similar to Soothe2 because they both analyze the input signals over time and apply attenuation automatically. The rest of this paper is organized as follows. Section 2 provides a detailed description of the proposed method. Section 3 outlines the experimental procedures and presents a comparative analysis between the proposed method and other commercial tools. Finally, Section 4 presents a discussion of the results and conclusions.