Manual

17
Frequency Compression
The external sidechain also makes it possible to apply frequency dependent compression. This
means that the compressor selectively reacts stronger or weaker to certain frequencies.
One of the most typical applications of this technique is de-essing: The input signal is multed to a
parallel line before the mpressor and then fed into an equalizer that raises the S sounds and lowers
all other frequency areas. This processed signal is then send into the external sidechain input of
the compressor which will only react to strong S sounds as a result.
Depending on the settings of the EQ, it is also possible to use combinations of normal compres-
sion and de-essing. This can be achieved by only boosting the frequencies of the S sounds without
cutting anything else. Another variant is to only lower the bass area on the external EQ so that
these frequencies will not dominate the compression process so strongly anymore, which will
result in an increase of overall loudness.
Mix Buss
The mpressor also proves of value when used as a high class mix buss compressor, especially when
it comes to the more vehement genres like rock and electronic music. If you use it straight on from
the beginning of a mix, you will automatically adapt your mix to the sound this produces.
The proportions between the levels of the separate tracks will be attuned perfectly to the active
compressor. This kind of mixing especially makes sense if the complete basic sound is supposed
to dier from the ‘standard’ sound of other productions.
If you want a track to sound very groovy and pumping, for example, just mix the drums louder as
usually so that they dominate the compression process. All other instruments which are quieter in
the mix now groove in conformity with the drums and become very vivid thereby.
SCENARIOS – Frequency Compression & Mix Buss
Threshold
16
14
9
5
0
-5 -8
-13
-15
-17
-18
dB
Attack
0,01
1,0
5,0
8,0
13
17
21
70
100
140
150
ms
Release
5
7
12
26
50
85
150
380
600
930
1k2
ms
1,2
1,3
1,6
2,0
5,0
10
-0,3
-1,0
-2,0
-3,0
-4,0
1:X
Ratio
EQ Gain
Lo
6,0
4,5
3,0
2,0
1,0 1,0
3,0
4,5
6,0
Hi
dB
EQ Freq
26
28
36
52
90
200 260
450
700
1k3
2k2
Hz
GR Limit
21
19
17
15
13
11 9
5
3
1,5
0
dB
Gain
10
13
17
0
0,5
2,0
3,0
4,0 6,0
20
dB
1,0
EQ Gain
Lo
6,0
4,5
3,0
2,0
1,0 1,0
3,0
4,5
6,0
Hi
dB
EQ Freq
26
28
36
52
90
200 260
450
700
1k3
2k2
Hz
GR Limit
21
19
17
15
13
11 9
5
3
1,5
0
dB
Gain
10
13
17
0
0,5
2,0
3,0
4,0 6,0
20
dB
1,0
Threshold
16
14
9
5
0
-5 -8
-13
-15
-17
-18
dB
Attack
0,01
1,0
5,0
8,0
13
17
21
70
100
140
150
ms
Release
5
7
12
26
50
85
150
380
600
930
1k2
ms
1,2
1,3
1,6
2,0
5,0
10
-0,3
-1,0
-2,0
-3,0
-4,0
1:X
Ratio
On
x10
On
SC Extern
Auto Fast
Anti Log
SC Extern
Auto Fast
Anti Log
On
x10
On
Left
Right
Link
Threshold
16
14
9
5
0
-5 -8
-13
-15
-17
-18
dB
Attack
0,01
1,0
5,0
8,0
13
17
21
70
100
140
150
ms
Release
5
7
12
26
50
85
150
380
600
930
1k2
ms
1,2
1,3
1,6
2,0
5,0
10
-0,3
-1,0
-2,0
-3,0
-4,0
1:X
Ratio
EQ Gain
Lo
6,0
4,5
3,0
2,0
1,0 1,0
3,0
4,5
6,0
Hi
dB
EQ Freq
26
28
36
52
90
200 260
450
700
1k3
2k2
Hz
GR Limit
21
19
17
15
13
11 9
5
3
1,5
0
dB
Gain
10
13
17
0
0,5
2,0
3,0
4,0 6,0
20
dB
1,0
EQ Gain
Lo
6,0
4,5
3,0
2,0
1,0 1,0
3,0
4,5
6,0
Hi
dB
EQ Freq
26
28
36
52
90
200 260
450
700
1k3
2k2
Hz
GR Limit
21
19
17
15
13
11 9
5
3
1,5
0
dB
Gain
10
13
17
0
0,5
2,0
3,0
4,0 6,0
20
dB
1,0
Threshold
16
14
9
5
0
-5 -8
-13
-15
-17
-18
dB
Attack
0,01
1,0
5,0
8,0
13
17
21
70
100
140
150
ms
Release
5
7
12
26
50
85
150
380
600
930
1k2
ms
1,2
1,3
1,6
2,0
5,0
10
-0,3
-1,0
-2,0
-3,0
-4,0
1:X
Ratio
On x10 On
SC Extern
Auto Fast
Anti Log
SC Extern
Auto Fast
Anti Log
On x10
On
Left
Right
Link