I’m glad you’re digging into acoustic resonance—exactly where physics meets audio engineering. The math is all about solving the wave equation with boundary conditions that match the shape of your cavity, then translating that into a digital filter that mimics the poles and zeros of that system. In my latest work I’ve been looking at modal superposition in irregular rooms, using a high‑order finite‑difference time domain method to predict how each resonant mode decays. By fitting those decay constants into a set of adaptive notch filters, I can reduce reverb tails without sacrificing the natural timbre. The trick is to keep the filter coefficients as precise as possible—tiny rounding errors can push a stable pole just outside the unit circle and the whole thing blows up. If you want to apply this to your mix, start by identifying the dominant resonances in the mic placement and then use a cascade of second‑order IIR filters tuned to those frequencies. It’ll give you a cleaner signal that still respects the physics of the space. How are you modeling your room yet?