Mackie Stereo and Mono Side chain Compressor User Manual
User’s Guide
7
Stereo and Mono Sidechain Compressors for Tracktion
Standard vs. Sidechain Compressors
A standard compressor detects the level of the
input signals from the main (host) track, and
applies the math to this track to produce the
processed output signals.
input signals from the main (host) track, and
applies the math to this track to produce the
processed output signals.
A Sidechain compressor has an extra (Key)
input compared to a standard compressor. The
sidechain compressor can detect the level of
input signals from the main track OR the signal
level from an alternate source. The alternate
source can be a processed version of the main
track, or the output of a different track.
input compared to a standard compressor. The
sidechain compressor can detect the level of
input signals from the main track OR the signal
level from an alternate source. The alternate
source can be a processed version of the main
track, or the output of a different track.
The math or processing applied to the main
track refl ects the signal fed into the sidechain.
In this way, we can have one track triggering
the compression of another.
track refl ects the signal fed into the sidechain.
In this way, we can have one track triggering
the compression of another.
If the key input signal goes above the threshold,
the plug-in will compute the amount of com-
pression and apply it to the main input (even if
it has not gone over the threshold).
the plug-in will compute the amount of com-
pression and apply it to the main input (even if
it has not gone over the threshold).
If you add an EQ plug-in to the Key Input line,
you can narrow in on a desired frequency range
for your compressor to work from.
you can narrow in on a desired frequency range
for your compressor to work from.
To make the connections in Tracktion, you must
use the Rack Filters option, and assign which
track will be connected to the Key Input. An
example of this is shown on the next page, so
fear not.
use the Rack Filters option, and assign which
track will be connected to the Key Input. An
example of this is shown on the next page, so
fear not.
A brief word about Compressors
As an example of how to use a
compressor, supposing you have a
track with a wide dynamic range.
This may have some exquisitely
detailed and quiet passages, played
before breaking into the fi nal
crescendo of Heavy Metal fi nal-
crecendo-ings.
compressor, supposing you have a
track with a wide dynamic range.
This may have some exquisitely
detailed and quiet passages, played
before breaking into the fi nal
crescendo of Heavy Metal fi nal-
crecendo-ings.
This track may overpower the oth-
er tracks during the loud passages,
and yet if we drop the track's over-
all level, the quiet passages may be lost in the
mix.
er tracks during the loud passages,
and yet if we drop the track's over-
all level, the quiet passages may be lost in the
mix.
The compressor allows us to drop
(compress) the level of the higher
passages, once they get louder
than a threshold level. When
the music is quieter than the
threshold, it is not affected. This
decreases the dynamic range of the
track, and allows it to be a better
fi t in the mix.
(compress) the level of the higher
passages, once they get louder
than a threshold level. When
the music is quieter than the
threshold, it is not affected. This
decreases the dynamic range of the
track, and allows it to be a better
fi t in the mix.
The overall level of the track can be adjusted
using the makeup gain, or automatic makeup
gain. This compensates for the reduced output
once the compressor has been at work, and lets
you place your track's level relative to the other
tracks.
using the makeup gain, or automatic makeup
gain. This compensates for the reduced output
once the compressor has been at work, and lets
you place your track's level relative to the other
tracks.
The features and controls of this compressor
plug-in are similar to what you might fi nd on a
real-life beer-stained electronic compressor.
plug-in are similar to what you might fi nd on a
real-life beer-stained electronic compressor.
INPUT
OUTPUT
LEVEL DETECTOR
AND CONTROLS
AND CONTROLS
INPUT
OUTPUT
LEVEL DETECTOR
AND CONTROLS
AND CONTROLS
KEY INPUT
Quiet
Loud
Wide
Dynamic
Range
Quiet
Loud
Less
Dynamic
Range