Multiband Dynamics

Premium and Ultimate Edition Only

This feature is available in the Premium and Ultimate Editions only.

About Multiband Dynamics

Multiband Dynamics features four independent dynamic processors in parallel, each working on a different frequency band of the audible spectrum. This allows you to apply dynamic processing with different settings for each of the four bands, making it a perfect tool for addressing certain problem frequencies in your mix, like low frequency rumble or sibilance for example.

Crossovers and Bands

There are four bands in Multiband Dynamics, which means that there are three cross-over frequencies. These are between the four frequency bands called Low Band, Low Mid Band, High Mid Band and High Band. Each band can be set between 20 Hz and 20 kHz, but a cross-over point can never cross another cross-over point. In the example below you see the three cross-overs set at 200 Hz, 632.5 Hz and 2 kHz.

Crossover slops

To set your preferred slope, select the desired cross-over marker to make the slope setting visible. The slope handles are indicated in the below image with a red arrow. You can drag either one of the slope handles to modify the slope to your liking. A steeper slope provides you with more precision at the cost of potential pre-ringing artifacts, which can distort transient rich material. Therefore, we encourage you to start with a medium slope and modify to taste.

Global Parameter Settings

• Phase mode

You can choose between two different phase modes in Multiband Dynamics:

Linear phase:	The advantage of the linear phase mode is that it completely avoids phase issues when the bands are recombined after processing. However, linear phase processing introduces pre-ringing effects that distorts transients and also increases latency.

Mixed phase:	The unique mixed phase mode combines the best of minimum and linear phase processing. You can adjust the latency and hence the maximum pre-ringing time so that it is masked by the temporal masking effect in the human auditory system. At the same time, phase issues that plague multiband processing with minimum phase filters are reduced to a minimum.

• Latency (ms)

If the mixed phase mode is activated, you can choose the latency and maximum pre-ringing time freely in the range 3 ms to 20 ms. Low latencies will result in a phase distribution more like minimum phase while higher latencies result in a more linear phase distribution. We recommend a settings around 5 ms which is sufficiently short to mask pre-ringing.

• Channel Linking (%)

With the channel linking set to 100%, the amount of gain reduction will be the same for the left and right channels, even if there is a difference in level between these channels. The more you dial the knob away from 100%, the more the channels will be independently treated, with complete independence between the channels once you have a 0% channel linking. Channel linking values below 100% can result in shifts in the stereo image.

• Input level (-16 dB to 16 dB)

You can use the input level to adjust the level prior to all processing.

• Output level (-16 dB to 16 dB)

You can use the output level to adjust the level after all processing.

Band Parameter Settings

The following parameters are available for each of the four bands. Press and hold the Shift key while using the sliders to modify a parameter for all four bands.

• Band solo

You can solo the output from a band by clicking the solo button ()

• Band on / off toggle

Bands can be enabled or disabled with the power on / off button

• Input gain (-16 dB to 16 dB)

You can use the input gain to increase of decrease the signal level at the band's audio input.

• Threshold level (-60 dB to 0 dB)

When the input level exceeds the set threshold, the compressor starts to apply compression. For example, if the threshold is set at -12 dB, it will only respond to incoming audio that exceeds -12 dB.

Note that as soon as you activate the Soft knee, it's possible that compression takes place even before the input level exceeds the set threshold, due to the nature of the soft knee.

• Ratio (0.01:1 to 100:1)

By setting up a ratio, you decide how much gain reduction should take place for every dB the input level exceeds above the set threshold. For example, if the threshold is set on 2.00:1, there will only be a 1 dB output increase for every 2 dB the input level exceeds the set threshold. You could also say that the compressor will do 1 dB of gain reduction for every 2 dB the input level exceeds the set threshold.

It's also possible to set a ratio that is below 1.00:1. This basically turns the compressor into a gate or expander. Audio levels below the threshold will now be reduced.

• Soft knee (0 dB to 24 dB)

A soft knee allows you to create a smoother compression curve, which can help to prevent or reduce audible artifacts. With the soft knee set to 0 dB, there is no soft knee applied to the compression curve. When the soft knee is set at 8 dB for example, the compression curve will be smoothly interpolated for input levels in the range -8 dB to +8 dB relative to the threshold level.

• Attack time (0.01 ms to 200 ms)

You can use the attack time knob to adjust how quickly the compressor will react to incoming audio that is above the threshold. The faster the attack time, the faster the compressor will react. If compression is applied on a snare for example which has a very loud attack, setting up a very fast attack time might help to reduce the loud attack of the snare, as the compressor can almost instantly apply gain reduction. However, in many scenarios a slightly slower attack time might provide you with a more natural sounding compression behavior, for example during mastering.

• Release time (ms)

You can use the release time knob to adjust how quickly the compressor will stop processing audio that is no longer above the threshold. A fast release time can greatly enhance the sustain/decay of certain softer elements of the audio, but it can also introduce a "pumping" effect. Slow release times (>200ms) often result in a more smoother/natural compression behavior.

• Auto-Release button

You can enable auto-release mode by clicking the button labeled "A" on the left side of the numerical entry field for the release time. In auto-release mode, the release time specifies the maximum release time and the dynamic processor shortens the release time for sharp transients.

• Output Level (-16 dB to 16 dB)

You can use the level handle (colored circle) in the filter response display to compensate for the level increase or decrease trough the dynamic processing.