Dynamics ('dyna') page

The Dynamics ('dyna') page gives you comprehensive control over the dynamics of your track; per-track sidechaining, gating, effects ducking and compression.

1. r.buS Receive Bus

Specifies which bus should be used for the signal that will control the volume attenuation for this track. Four busses are available, as well as a 'faKE' setting that fakes a pulse on every first quarter note without any input signal. The latter is quick way to mimic the "pumping" effect found in many dance tracks.

2. S.buS Send Bus

Specifies the bus to which the signal from this track should be sent.

3. S.Src Signal Source

Specifies what signal from this track should be sent to the the specified send bus. A number of different sources can act as the sidechain signal;

• nLen (note length); a signal is generated for the length of any note played on this track
  
• OSc1 (oscillator 1); the playing volume (amplitude) as generated by the amplitude generation block (AEG + LFO + velocity) from oscillator 1 on this track, is used as the signal
• OSc2 (oscillator 2); the playing volume (amplitude) as generated by the amplitude generation block (AEG + LFO + velocity) from oscillator 2 on this track, is used as the signal
• O1P2 (oscillator 1 + oscillator 2); the playing volume (amplitude) as generated by the amplitude generation block (AEG + LFO + velocity) from oscillator 1 plus oscillator 2 on this track, is used as the signal
• MO12 (oscillator 1 x oscillator 2); the playing volume (amplitude) as generated by the amplitude generation block (AEG + LFO + velocity) from oscillator 1 is multiplied by that from oscillator 2 on this track, and used as the signal
• Audi (audio); the audio as produced by this track, is used as the signal
  

4. S.Lvl Send Level

The volume/strength (0-127) of the signal generated from this track that should be sent to the send bus ('S.buS').

5. Sd.dP Sidechain Depth

Specifies how much the sidechained source (e.g. from the receive bus as specified by "r.buS") should attenuate the signal for this track.

6. Sd.Gt Sidechain Gate

Specifies how much the sidechained source (e.g. from the receive bus as specified by "r.buS") should gate the signal for this track.

7. Sd.At Sidechain Attack

Specifies how slow/fast sidechaining should kick in for this track. Use a lower number for faster attack times.

8. Sd.rL Sidechain Release

Specifies how slow/fast sidechaining should end for this track. Use a lower number for faster release times.

9. CM.Th Compressor Threshold

Specifies a threshold (0-100) above which the track's compressor should kick in.

10. CM.rt Compressor Ratio

Specifies the compression ratio for signal above the threshold. Anything above 1:20 (e.g. a value of 20) is typically considered to function as a limiter, rather than a compressor.

11. CM.At Compressor Attack

Specifies how slow/fast the compressor should kick in for this track. Use a lower number for faster attack times.

12. CM.rL Compressor Release

Specifies how slow/fast compression should end for this track. Use a lower number for faster release times.

13. Gb.du Global Multi-FX Ducking

Specifies how much this track should duck the master output of the reverb, chorus and delay units. This setting can be used to prevent a track's sound from getting lost in the song's general delay or reverb.

14. rv.du Reverb Send Ducking

Specifies how much this track's volume should duck the track's reverb send.

This allows for much more subtle reverb tails in the mix, that don't get in the way of the main sound.

15. dL.du Delay Send Duck

Specifies how much this track's volume should duck the track's delay 1 send.

This allows for much more subtle delay effects in the mix, that don't get in the way of the main sound.

16. noiS Noise Generator

Introduces post-mix, post-filter noise (as defined by the 6/noi.C/noise character parameter on the Song's Glob page) depending on the amplitude of the output of the playing voice.

Negative values exhibit a exponential response, while positive values exhibit a linear response.

A slight amount of noise can impart a more authentic analog feel, subtle sizzle, or even serve as noise for percussive sound design.