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-5
-8
17
21
Threshold
Attack
0
13
50
5
-13
8,0
70
26
9
-15
5,0
100
12
14
-17
1,0
140
7
SC Extern
Auto Fast
16
-18
0,01
150
dB
ms
1,0
1,0
200
260
EQ Gain
EQ Freq
2,0
90
3,0
3,0
52
450
15
4,5
4,5
36
700
17
6,0
6,0
28
1k3
19
On
x10
Lo
Hi
26
2k2
dB
Hz
Negative Gating
An interesting variant of the groove ducking technique is negative gating that is based on faster
release times and uses the Anti Log mode. Higher ratios are also very typical for this process. If now
a bass drum is fed into the external sidechain input as a trigger signal, for example, the compressor
will reduce the audio signal by a significant amount, resulting in gain reduction values of 30 and
40 dB.
After the trigger signal has faded away, the gain reduction value is kept constant by the Anti Log
function for a moment, after which it rebounds rapidly. This special envelope makes the effect
almost sound like a gate – but with the difference that the signal is made quieter instead of being
totally muted.
If you want the effect to be as stable as possible, please take care that the trigger signals have even
attacks and levels.
-5
-8
17
21
Threshold
Attack
0
13
50
5
-13
8,0
70
26
9
-15
5,0
100
12
14
-17
1,0
140
7
SC Extern
Auto Fast
16
-18
0,01
150
dB
ms
1,0
1,0
200
260
EQ Gain
EQ Freq
2,0
90
3,0
3,0
52
450
15
4,5
36
17
4,5
700
6,0
6,0
28
1k3
19
On
x10
Lo
Hi
26
2k2
dB
Hz
Ducking FX
Using the mpressor in combination with effect units like reverb, delay or chorus will result in fasci-
nating results. The important point in this case is that compression is applied after the signal has
passed the effects processor. The external sidechain input, however, is fed with the original dry
signal that is also fed into the input of the FX unit.
If a drum track is processed with a reverb, for example, the reverberation can be compressed ex-
tremely strong so that it will almost vanish in very loud parts at first. It sounds different than only
compressing the reverberation without using the external sidechain, because now it depends on
the dynamics of the original signal.
An electric piano which is processed with chorus and delay effects can benefit from this tech-
nique, too, as the chorus/delay effect will become more and more prominent while the played
note decreases in volume. Here it is important that all effect units only send the pure effect signal
(100 % wet) which is then mixed to the dry signal on a parallel track.
85
150
5,0
10
Release
Ratio
-0,3
380
2,0
-1,0
600
1,6
-2,0
930
1,3
-3,0
Anti Log
5
1k2
1,2
-4,0
ms
1:X
11
9
4,0
6,0
GR Limit
Gain
13
3,0
5
2,0
10
3
1,0
13
1,5
0,5
17
On
21
0
0
20
dB
dB
Left
Link
85
150
5,0
10
Release
Ratio
-0,3
380
2,0
-1,0
600
1,6
-2,0
930
1,3
-3,0
Anti Log
5
1k2
1,2
-4,0
ms
1:X
11
9
4,0
6,0
GR Limit
Gain
13
3,0
5
2,0
10
1,0
13
3
1,5
0,5
17
On
21
0
0
20
dB
dB
Left
Link
-5
-8
17
21
Threshold
Attack
0
13
5
-13
8,0
70
26
9
-15
5,0
100
12
14
-17
1,0
140
SC Extern
Auto Fast
16
-18
0,01
150
dB
ms
1,0
1,0
200
260
EQ Gain
EQ Freq
2,0
90
3,0
3,0
52
450
15
4,5
4,5
36
700
17
6,0
6,0
28
1k3
19
On
x10
Lo
Hi
26
2k2
dB
Hz
Right
-5
-8
17
21
Threshold
Attack
0
13
5
-13
8,0
70
26
9
-15
5,0
100
12
14
-17
1,0
140
SC Extern
Auto Fast
16
-18
0,01
150
dB
ms
1,0
1,0
200
260
EQ Gain
EQ Freq
2,0
90
3,0
3,0
52
450
15
4,5
36
17
4,5
700
6,0
6,0
28
1k3
19
On
x10
Lo
Hi
26
2k2
dB
Hz
Right
85
150
5,0
10
Release
Ratio
50
-0,3
380
2,0
-1,0
600
1,6
-2,0
7
930
1,3
-3,0
Anti Log
5
1k2
1,2
-4,0
ms
1:X
11
9
4,0
6,0
GR Limit
Gain
13
3,0
5
2,0
10
3
1,0
13
1,5
0,5
17
On
21
0
0
20
dB
dB
85
150
5,0
10
Release
Ratio
50
-0,3
380
2,0
-1,0
600
1,6
-2,0
7
930
1,3
-3,0
Anti Log
5
1k2
1,2
-4,0
ms
1:X
11
9
4,0
6,0
GR Limit
Gain
13
3,0
5
2,0
10
1,0
13
3
1,5
0,5
17
On
21
0
0
20
dB
dB
1
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