2013

Mastering 99
• Look ahead: AM-Track is always ahead of the signal. You can specify how many
milliseconds you want to "look ahead". The audio signal path is delayed according
to the signal route so that the detection circuit is fed first with the input signal
(so-called "look-ahead delay"). You can increase the attack time and still avoid
fast peaks. The latency compensation in the host program ensures that other
tracks in the arrangement are adjusted and that no time delay occurs. For
percussive signals, you can even set the delay all the way to "0".
• Detector hp filter: This high-cut filter is positioned before the two compressors'
detection circuit. You can use it to specifically exclude basses and mids from
these rules. Complex signals with bass and hi information like a subgroup or
complete mixdown produce fewer "pumping" artifacts. This is because low-
frequency signals feature the most power and therefore always trigger regulation
and modulate other frequency ranges in the volume
• Auto makeup gain: Normally, you have to continuously adjust level reduction to
generate "compression" at the same maximum level. This is done by activating
auto makeup gain. The volume difference expected from the set working
parameters is determined and applied as an output factor after master regulation.
If you prefer to adjust the "classic" level reduction and amplification manually,
you can deactivate this function.
• Adaptive release: This is "semi-automatic", i.e. you can roughly adjust the release
time, and AM-Track reduces it according to the current signal power from "a little
(1%)" to "considerably slower (100%)". In "Vintage" mode, this regulation
method is particularly intense, since it affects the feedback loop process. For
instance, if you are editing vocal tracks or dense, complex material, it can sound
"calmer" or more "musical" if adaptive release is activated.
• Capacity: Adjusting the "capacity" controller sets the time response of the
"adaptive release". The greater the capacity, the more sluggish the release
adjustment. You can therefore influence larger parts of the compensation
response. For instance, if you want to use vocals that have been "moved
forward", you should use a short release time (maybe 80-100 ms) and a greater
value for semi-automatic (e.g. 80). Vice versa, you can reduce automatic feed by
switching the relation (smaller capacity, generally greater release time).
• Comp mix: Parallel compression is a popular "studio trick", particularly with
complex material. Adding the original signal retains the transients and spectral
balance of the source. You can add compression by turning the mix controller. A
mixed signal is particularly discreet, more transparent, and less "squishy" with
vocals, whereby the compressed portion usually has a higher level reduction than
without adding the original.