MacBook Pro 15,1 — custom speaker DSP graph

A modified PipeWire filter-chain graph for the built-in speakers of the MacBook Pro 15,1 (Intel T2) running Linux, plus a script to install it.

This is not a driver. The T2 kernel/ALSA stack exposes the raw speaker PCM; WirePlumber (via t2-linux-audio's 51-t2-dsp.conf) renames it to alsa_output.platform-sound.RawSpeakers, hides it, and splices this graph in front of it. The graph does the crossover, voicing EQ, dynamics, and FIR correction that the T2's own DSP does under macOS.

Origin

Forked from configs/15_1/graph.json in lemmyg/t2-apple-audio-dsp (which itself borrows FIR filters and structure from chadmed/asahi-audio).

All structural elements are unchanged: node names, FIR .wav paths (/usr/share/t2-linux-audio/15_1/), capture.props / playback.props, target.object = alsa_output.platform-sound.RawSpeakers, 4-channel FL/FR/RL/RR output, allowed rates 48000/44100, and the capture.volumes mapping that ties the sink volume slider to the loudness-compensation stage.

Prior art — why this fork

Two recurring complaints about the upstream chains, from their own issue trackers and docs, motivated the changes here:

It sounds thin / not warm enough. asahi-audio deliberately targets "a mostly flat response ... without adding an excessive amount of colour" and explicitly rejects Apple's "exaggerated Harman curve." Flat magnitude is equal-energy-per-Hz, which reads as bass-light against pink-balanced program material (see Design rationale). Users keep asking for the warmth back:

• asahi-audio #31 — request for a bass/treble ("smiley") curve + a guide to change it system-wide; closed with no documented answer.
• asahi-audio #93 — "Lacks proper bass and high frequencies, sounding flat, thin, and muddy"; closed as not planned.
• t2-apple-audio-dsp #21 (direct upstream) — "Quality is good but volume is quite low even at maximum volume."
• Asahi audio docs known issues: the 13″ MBA EQ "might be a bit harsh on the treble."

It distorts when loud, because there is no output limiter. The Asahi docs state plainly: "There is no final limiter/compressor in the current DSP chains" (only an input compressor), so "content in high-gain regions of the EQ curve might cause distortion or clipping." They also flag "the 200 Hz region" for distortion risk and note bankstown is "prone to saturation artifacts at high volumes."

• asahi-audio #22 — j313 distortion at 100 %; traced to convolver gain being too hot, worked around by dropping it to ~0.6.
• asahi-audio #42 — J474 distortion above 72 % volume.
• asahi-audio #91 — j313 "severe speaker distortion" at 55 %; speakersafetyd logs nothing, i.e. it's in the signal processing, not the protection model.

This fork's answers, point by point:

Upstream complaint	Change here
flat / thin / "not warm enough"	EQ bass tilt (≈ +3 dB/octave per-Hz) ahead of the dynamics
no final limiter → clipping in high-gain EQ regions	limiter + post-FIR wlim / tlim on the real driver signal
200 Hz distortion risk	fine multiband split through the low-mids
bankstown saturates at volume	EQ g_in 0.5 pad + sat_second / sat_third reduced
convolver gain too hot at 100 % (#22)	FIR kept near unity; drive lives in the dynamically-governed EQ
"volume too low at max" (#21)	g_out makeup + loudness maximisation into the limiters

Signal chain

in ─▶ user_eq ─▶ equalizer ─▶ virtualbass ─▶ multiband_compressor ─▶ limiter ─▶ ell/elr ─▶ copyL/R ─┬▶ convLT/convRT ─▶ tlim ─▶ out
     (LSP x16)   (LSP x16)    (bankstown)   (LSP mb_comp x8)      (fastLookahead) (loud_comp)        │  (tweeter FIR)   (limit)
     user prefs  voicing                                                                             └▶ convLW/convRW ─▶ wlim ─▶ out
                                                                                                        (woofer FIR)    (limit)

Changes vs. upstream 15_1/graph.json

Stage	Upstream	This fork	Purpose
Pre-EQ	none	LSP para_equalizer_x16_stereo, g_in 0.5	Warm/bass-forward voicing curve
Gain staging	n/a	EQ g_in padded to 0.5 (≈ −6 dB); the ~3 dB net loss restored at multiband_compressor.g_out 1.4, with band thresholds al_* scaled to match	Run the EQ + virtualbass cooler; recover level only after the compressor detectors, right before the limiter
EQ band 0	n/a	48 dB/oct high-pass @ 60 Hz (ft_0 2, s_0 3)	Kill everything below the woofer's usable range — −3 dB at 60 Hz, ≈ −30 dB by 40 Hz
Dynamics	single-band compressor_stereo	mb_compressor_stereo, 8 bands (xover 60/80/100/130/160/200/500 Hz), Modern mode	Per-band peak control that doesn't duck the mids on a bass beat; the woofer range is split finely (five bands 60–200 Hz) so the 60–80 and 80–100 Hz octaves can be clamped harder than the rest
Woofer FIR gain	1.0	1.15 (convLW / convRW)	Small trim only; the low-end drive now lives in the EQ bass bells (upstream, so it passes through the compressor + limiters instead of being an uncontrolled post-gain)
Bass EQ bells	n/a	31.5–200 Hz boosted ~+2.3 dB above the base warm tilt to offset the FIR gain reduction	Same woofer output level, but dynamically governed
Post-FIR limiters	none	wlim (−2 dB) after woofer FIR, tlim (−1 dB) after tweeter FIR	Hard ceiling on the actual driver signal — excursion / clip backstop

Everything else is byte-identical to upstream.

Design rationale

Goal: mild-volume music should sound warm and full; bass-heavy material should not distort the woofers or duck the midrange.

Why the voicing curve exists — and why upstream sounds thin

Music is mastered for systems with a roughly equal-energy-per-octave (pink) balance and the headroom to reproduce it. The forked FIR filters (asahi-audio / t2-apple-audio-dsp) correct the drivers to flat magnitude = equal energy per Hz — measurement-correct, but each octave down then carries the same per-Hz energy across half the bandwidth, so it lands bass-light ("not warm enough"). Matching the per-octave balance needs ≈ +3 dB/octave of per-Hz lift toward the lows — that is what the EQ bass bells are for.

That tilt can't be static. The two things it can break are different above and below ~150 Hz:

Region	Failure mode	Scaling	Guarded by
< ~150 Hz	woofer over-excursion — cone bottoms out	displacement ∝ 1/f² ≈ +12 dB/octave for constant SPL	fine multiband split (one limiter per bass octave, held release) + the 20 Hz subsonic HPF; virtualbass supplies deep sub as harmonics so the cone never has to move for it
> ~150 Hz	over-voltage — demanded level exceeds the amp's max swing to the cone	≈ flat (voltage/thermal, not displacement)	multiband peak control per band, then limiter / wlim / tlim as backstop

The fastLookaheadLimiter stages are a second line of defence only, because they are broadband: when one triggers it ducks every frequency at once, so a loud trombone transient pulls the violins down with it. The multiband compressor is the first line precisely because its gain reduction stays inside the offending band — the more work it does, the less the broadband limiters engage and the cleaner the result. Net: full warmth at low level, graceful flattening toward the FIR's flat-per-Hz curve as it gets loud, with cheap pitch-reinforcing harmonic distortion traded for ugly (and mechanically risky) excursion distortion.

Warm at low volume

• Warm at low volume is handled two ways:

  • ell / elr (loud_comp_mono) is a true ISO-226 equal-loudness compensator. The sink volume slider feeds ell:volume / elr:volume (cubic, −65→0 dB), so bass/treble lift automatically increases as you turn the volume down and recedes as you turn it up.
  • The static EQ bells (31.5–125 Hz) add a fixed warmth tilt. Note LSP's g_* ports are linear amplitude, not dB — g_3 = 3.26 is ≈ +10 dB, offset by g_in 0.5 (≈ −6 dB). This is a hot bass shelf on purpose; the dynamics stages below exist to keep it safe when loud. The bass boost lives here rather than in the woofer FIR gain (kept near unity at 1.15) so it passes through the compressor and limiters and is dynamically controlled, instead of being a fixed post-everything gain that only wlim can catch.

• Gain staging. g_in on the EQ is padded to 0.5 so the boosted bands and virtualbass's saturation stages run with headroom rather than near/over 0 dBFS. The signal path is 32-bit float end-to-end (real clipping only happens at the ALSA sink), but a cooler operating point keeps virtualbass from being over-driven and keeps every plugin's internal detectors honest. The ~3 dB net level loss is put back at multiband_compressor.g_out (1.0 → 1.4) — after the band detectors, immediately before the main limiter — and the band thresholds al_* were scaled by the same factor so the compressor behaves exactly as before, just at a lower internal level.

• Bass beats don't distort is handled by multiband, not broadband, compression. A single-band compressor keyed off a kick drum applies gain reduction to the whole spectrum — vocals and mids pump on every beat, and loud bass can shut the woofers down across all frequencies. The 8-band multiband keeps each band responding only to its own energy. The seven bands below ~500 Hz — where over-excursion and boom live — are effectively limiters:

  Band	Range	cr	kn	al (≈ dB)	Note
  0	< 60 Hz	50	0.10	0.093 (−21)	catch band — mostly empty now that the EQ HPFs hard at 60 Hz
  1	60–80 Hz	50	0.06	0.078 (−22)	hardest clamp — lowest ceiling, highest ratio, widest (softest) knee so the 50:1 eases in
  2	80–100 Hz	30	0.12	0.095 (−20)	clamped harder than the rest, a step gentler than 60–80
  3	100–130 Hz	20	0.20	0.120 (−18)	midbass, as the old 90–200 band
  4	130–160 Hz	18	0.24	0.130 (−18)
  5	160–200 Hz	16	0.28	0.140 (−17)
  6	200–500 Hz	15	0.30	0.159 (−16)	low-mid body, as the old 200–500 band
  7	500 Hz+	5	0.40	0.284 (−11)	single gentle band above 500 Hz (was three: 500/1500/5000)

  (Every mb_compressor port is documented in mb-compressor-params.md.)

  Band 1 (60–80 Hz) and band 2 (80–100 Hz) carry the lowest ceilings and the highest ratios, so the two octaves that drive woofer excursion hardest are clamped ahead of everything else — their wide knees (kn down at 0.06 / 0.12, i.e. −24 / −18 dB) make that heavy ratio ramp in gradually rather than snap. Band 7 limits gently (cr 5) and does not move because of a kick drum. The EQ is left untouched, so anything below the thresholds — i.e. quiet listening — passes with its full warm tilt intact; only loud peaks are clamped.

• Woofers can't bottom out. The woofer FIR is near unity now (1.15), but loud_comp still adds bass gain after the main limiter, so the very last stage is unguarded. wlim / tlim are fastLookaheadLimiter instances placed after the convolvers, so they clamp the real signal the drivers see regardless of upstream gain. wlim at −2 dB is the mechanical-excursion backstop; tlim at −1 dB protects the tweeters and keeps the two paths time-aligned (equal lookahead latency — no comb filtering at the crossover).

• virtualbass (bankstown) synthesizes harmonics of the bass in the 60–150 Hz window, so the ear perceives low end the driver never has to physically produce — the psychoacoustic counterpart to the 60 Hz high-pass.

User preference EQ

user_eq is the first node in the graph and the only block meant for hand-editing — a plain 8-band tone control for matching the sound to content type. It defaults flat (every g_* = 1.0), which is the reference voicing; editing it never touches the calibrated equalizer / dynamics below. Because it sits ahead of the compressor and limiters, even an aggressive preset is dynamically governed — it can't clip or over-excurse, it just gets compressed if pushed hard.

Band	f	Type	Region
0	70 Hz	low shelf	sub weight / rumble
1	110 Hz	bell	bass punch
2	220 Hz	bell	warmth / boom
3	450 Hz	bell	body / mud
4	1 kHz	bell	mids / nasal
5	2.5 kHz	bell	presence / attack
6	6 kHz	bell	detail / sibilance
7	10 kHz	high shelf	air

Values are linear, not dB (+3 dB ≈ 1.41, −3 dB ≈ 0.71). Keep each g_* between 0.5 (−6 dB) and 2.0 (+6 dB).

Two ways to set it, both followed by ./apply.sh:

• Override file (recommended, survives git pull). Copy the template and edit it:

  cp user_eq.example.json user_eq.json
  $EDITOR user_eq.json
  

  user_eq.json is git-ignored. When present, apply.sh splices its contents into the user_eq node's control block with jq, writes the result to ~/.audiograph.json, and installs that. Delete user_eq.json to go back to the committed default.
• Edit graph.json directly — change the g_* in the user_eq control block. Simple, but a git pull will conflict.

Presets — the 8 g_* values, g_0…g_7

Preset	70	110	220	450	1k	2.5k	6k	10k
Reference (flat)	1.00	1.00	1.00	1.00	1.00	1.00	1.00	1.00
Rock / Pop	1.00	1.26	1.00	0.94	1.00	1.12	1.19	1.12
Classical / Acoustic	1.00	1.00	1.06	1.00	1.00	1.00	1.12	1.12
Electronic / Hip-Hop	1.26	1.19	1.00	0.94	1.00	1.00	1.06	1.00
Movie — dialogue	0.84	0.94	1.00	1.06	1.19	1.19	1.06	1.00
Movie — action	1.41	1.12	1.00	1.00	1.00	1.06	1.12	1.12
Late-night (low level)	0.63	0.79	1.00	1.00	1.06	1.12	1.00	0.94

Tuning knobs

If the woofers still bottom out or anything distorts, in order of preference:

Where	Key	Now	Effect
wlim.control	limit	-2	Lower to -3 / -4 — hard woofer ceiling, dB
equalizer.control	g_1–g_5	1.82 / 2.48 / 3.26 / 2.61 / 1.75	The bass boost — lower all five proportionally for less low-end drive overall
convLW / convRW config	gain	1.15	FIR trim; leave it — adjust the EQ bells instead
multiband_compressor.control	al_0	0.093 (≈ −21 dB)	Lower = < 60 Hz band clamps sooner
multiband_compressor.control	al_1 / al_2	0.078 / 0.095	The 60–80 / 80–100 Hz ceilings — lower these two to pull the peak down further in those octaves
multiband_compressor.control	cr_1 / kn_1	50.0 / 0.06	60–80 Hz clamp — highest ratio, widest knee. Less aggressive: lower cr_1 toward 20. Sharper corner / less low-level squash: raise kn_1 toward 1.0
multiband_compressor.control	cr_2 / kn_2	30.0 / 0.12	80–100 Hz clamp — a step gentler than 60–80
multiband_compressor.control	cr_0	50.0	Already near brick-wall; leave it
multiband_compressor.control	at_0	4.0 ms	Lower toward ~3 ms if kick transients poke through (adds some LF harmonic distortion)

If the midrange sounds over-controlled / lifeless, raise al_3–al_7 (higher = those bands stay out of the way longer) or lower their ratios cr_3–cr_7 toward 2.0. Band 6 (200–500 Hz) at cr 15 reaches into low-mid body — if male vocals / snare sound boxy or thin, drop cr_6 back toward 8.

Gain staging. To run the EQ / virtualbass even cooler, lower equalizer.g_in further (e.g. 0.4, 0.35) and put the same factor back into multiband_compressor.g_out, then scale al_0–al_7 by that factor so the compressor keeps the same behaviour. If bass feels thinner after the pad, nudge virtualbass.amt up (1.0 → 1.2) rather than raising g_in back.

tlim.control limit (-1) is the tweeter ceiling — rarely needs touching, but keep tlim present even if you disable it (limit high), because it also holds the tweeter/woofer time alignment.

Install

Full instructions — prerequisites, the LV2 plugin dependencies (LSP, SWH, and a source build of Bankstown), the FIR files, verification and troubleshooting — are in INSTALL.md.

Short version, with the t2-linux-audio / t2-apple-audio-dsp package already installed (it provides the FIR .wav files, 51-t2-dsp.conf and mic.json):

./install-deps.sh   # LSP + SWH plugins, builds Bankstown from source
./apply.sh          # preflights, then copies the graph in and reloads WirePlumber

apply.sh refuses to install if a referenced FIR file or plugin URI is missing (-f skips those checks).

Revert

sudo cp /path/to/t2-apple-audio-dsp/configs/15_1/graph.json \
        /usr/share/t2-linux-audio/15_1/graph.json
systemctl --user restart wireplumber

Note: a t2-linux-audio package update will overwrite the installed file and silently revert these changes — re-run ./apply.sh afterward. See INSTALL.md § 8.