Getting the most from Dynamics

Scovi spent time in the master class clarifying several functions of dynamics processors that will aid in gaining more coherence in the mix.

External keying of gates and compressors.  The purpose of an external key input is to allow the engineer to affect the sensing circuit in the gate/comp for what will cause the unit to react.  Using an EQ or hi-pass/lo-pass filter to key a gate/comp is the most common application.  Some examples:  hi-pass the key input into a snare gate above the kick frequencies and it will help a snare mic with lots of kick bleed not open from that signal.  Keying the bottom snare mic from the signal of the top snare mic would result in a package where when the top mic is hit, the bottom mic also opens but rejects everything else.

Understanding ratio of compression.  Ratio dictates whether you are compressing, limiting, or expanding – 1:1 to 8:1 = compression, 8:1 and above = limiting.  The key to understanding ratio: “at a ratio of x:1, for every x dB over threshold my signal is, I will only see 1 dB of increase in output”.  The purpose of which ratio you choose is how much you want to raise the “average level” of the signal.

Gate Range.  The purpose of gating is just like having a second set of hands on the faders to increase the signal to noise ratio.  But the trick that most miss is that the “fader” moves need to sound as natural as if they were performed manually.  The key to achieving this is using gates with a range setting.  In most cases, a gate does not need to fully close when engaged – in fact letting it fully close often contributes greatly to the unnatural result.  Instead, set the range as low as possible to get the desired result.  Often times this will mean dropping inputs 10 or 15 dB via gates rather than fully 50 or 60 dB.