Spectral Convolution

Parameters

Mix — Equal-power blend between dry Main (0) and the spectrally-convolved output (1). At 1 you hear pure spectral imprinting; at 0 you hear unprocessed Main. Useful for parallel-style spectral coloring.

Impulse Gain — Gain applied to the Impulse input before convolution, in dB, −24 to +24. Boosts or attenuates the impulse’s spectral signature before it shapes the Main signal. Higher gain produces more pronounced spectral imprinting; lower gain leaves the Main mostly unchanged.

Normalize Amount — How much the impulse’s energy is normalized before applying it, 0–1. 0 = no normalization (loud impulses produce loud results, quiet impulses produce quiet ones — physically accurate but level-dependent). 1 = full normalization (impulse energy is normalized so output level is consistent regardless of impulse amplitude). 1 is usually preferred for predictable behavior; 0 for sound-design experiments where impulse level should affect output level.

Output Gain — Output level in dB, −24 to +24. Compensates for level changes from the convolution.

Additional controls

Capture — How the impulse spectrum is reduced to a stable frequency-shaping response:

• Average — averages the impulse spectrum over time (smooth, stable spectral signature).
• Peak — uses the peak energy across time per bin (captures the impulse’s strongest frequency content; more aggressive coloring).

For sustained impulse sources (drone tones, sustained chords), Average works well. For transient or evolving impulses (drum hits, vocal phrases), Peak captures more of their character.

About Spectral Convolution

This is not the same as time-domain impulse-response convolution (the kind used for reverb impulses). Spectral Convolution takes the spectral signature of the Impulse input and applies it as a frequency-shaping filter on the Main input. The result is “color the Main with the Impulse’s spectrum” — like running Main through an EQ shaped by Impulse’s spectral content. Use it for: spectral imprinting (make Main sound like it’s filtered through Impulse’s resonances), cross-source coloring (apply a vocal’s spectrum to a synth, an instrument’s spectrum to noise), or building “spectral matched” sounds where Main and Impulse share a tonal space. Compare with traditional convolution reverb which uses time-domain IRs — that’s elsewhere in the Reverb category.

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