Crossovers are heavily used in many aspects of audio signal processing. Crossover design involves a significant amount of trade offs. The presentation describes what these tradeoffs are, presents different architectures (Linkwitz Riley, odd order Butterworth, linear phase FIR, etc) derives their properties and discusses the pros and cons and how they map to typical real world requirements.

This guide was created with the help of AI, based on the presentation's transcript. Its goal is to give you useful context and background so you can get the most out of the session.

What this presentation is about and why it matters

This talk explains practical designs and trade-offs for audio crossovers — the filter networks that split a signal into low‑ and high‑frequency bands (and extend to multiple bands). Crossovers are everywhere in audio products (smart speakers, active loudspeakers, subwoofer management, multiband dynamics, driver protection and arrays). The presentation focuses on Butterworth‑based crossovers (odd‑order Butterworth and the even‑order Linkwitz‑Riley variant), shows how their phase and magnitude behave, and explains implementation and efficiency consequences.

Why this matters: a crossover does more than shape magnitude. Phase, group delay, and implementation cost (CPU, memory, latency) all affect perceived sound quality and real‑time feasibility. Understanding the trade‑offs helps you choose the right topology, avoid audible artifacts (time smear, combing when bands are recombined), and implement low‑cost, robust crossovers in deployed systems.

Who will benefit the most from this presentation

• DSP engineers and audio software developers building active speaker, headphone or smart speaker systems.
• System designers deciding where to place crossovers and how to cascade multi‑band networks.
• Students and educators who want an intuitive, implementation‑oriented view of classic crossover topologies.
• Anyone implementing real‑time filters who needs to trade off phase linearity, latency and computational cost.

What you need to know

The talk assumes basic familiarity with these concepts. Below are the essential ideas and a few compact formulae to read the slides more easily.

Basic filter vocabulary

• Pole / zero: locations in the complex plane that determine a filter's frequency and phase response.
• Butterworth filter: maximally flat in the passband; poles lie on a circle in the left half of the s‑plane. Magnitude is monotonic, cutoff gain is −3 dB for a single Butterworth section.
• Linkwitz‑Riley: created by cascading two identical Butterworth sections so the crossover gain is −6 dB and the sum of branches is flat (commonly used for even‑order crossovers).

Phase and group delay

• Phase at Nyquist for an Nth‑order Butterworth is approximately −N × 90°; at cutoff it is about −N × 45°.
• Group delay is the derivative of phase vs frequency; crossovers typically show a hump near the cutoff. On a log frequency axis this hump appears asymmetric depending on where the cutoff sits relative to Nyquist.
• Useful rule of thumb from the talk: the peak group delay of the branch sum scales roughly as $GD_{peak}\approx 0.14\,(n-1)\,\dfrac{F_s}{f_c}$ for frequencies below a few kHz; this makes GD roughly inversely proportional to crossover frequency.

Sum / difference (all‑pass) view

• For odd‑order Butterworth crossovers the low‑ and high‑pass branches differ in phase by about $N\times90^\circ$. Their sum or difference becomes an all‑pass (flat magnitude) of much lower order because certain pole contributions cancel, so the branch sum is an all‑pass with predictable order.
• Even order (Linkwitz‑Riley) is handled by cascading Butterworth halves; the sum is also an all‑pass, but the behaviour and cancellation pattern differ — and implementation choices change.
• All‑pass interpretation yields very efficient implementations: the crossover can be synthesized from lower‑order all‑pass sections, reducing multiplies and states.

Glossary

• Crossover: filter network that splits a signal into two or more frequency bands (low/high or multiband).
• Butterworth: a filter family with maximally flat passband; used as a prototype for many crossovers.
• Linkwitz‑Riley (LR): topology formed by cascading two equal Butterworth filters to get −6 dB at the crossover and a flat summed magnitude.
• All‑pass: a filter with flat magnitude response but nontrivial phase; used to represent branch sums in crossovers.
• Poles / Z‑plane: complex locations that determine filter behavior in discrete time; poles of low/highpass often coincide for complementary Butterworths.
• Group delay: derivative of phase vs frequency; measures time smear of transients across frequency.
• Ones‑complement: naive idea 1−L(z) to produce a high‑pass from a low‑pass; only valid in special low orders.
• Cascading crossovers: building multiband splits by serially applying two‑band crossovers, requiring phase correction of branches.
• Odd vs even order: odd‑order Butterworths have a real pole and different cancellation behavior than even orders; this affects summed phase and transition steepness.
• Transition steepness: slope of the amplitude change in the crossover region (approx N×6 dB/octave for order N).

Final note

Hilmar Lehnert's talk is practical, focused and fortunate in balancing theory with implementation details: you get intuition (pole maps, phase bookkeeping), measurable rules of thumb (group‑delay scaling) and actionable guidance (which topologies are efficient and when to use Linkwitz‑Riley vs odd‑order Butterworth). If you work with real‑time audio or loudspeaker systems, this presentation will sharpen your judgment about trade‑offs you encounter every day — from audible phase effects to CPU budgeting. It's a concise, engineer‑friendly tour of a fundamental DSP topic.