Manual Magix Audio cleaning lab 2014 (page 95 of 156) (English)

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Plug-ins 95

• 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 project 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.

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Magix Audio cleaning lab 2014 Manual

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