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User’s Guide
13
Stereo and Mono Sidechain Compressors for Tracktion
4. Connect the left and right outputs of the EQ to the Key Input of the compressor.
5. Adjust the EQ to boost the higher frequencies where the "S" sounds lurk. A bit like this (although
this is a more extreme example):
6. And now, here we are. The Key Input is a copy of the main vocal, only with the EQ section actu-
ally boosting the S frequencies we don't want. Hmmm... that might seem a bit odd, but there is a
method to the madness.
The Key Input (boosted S sounds) trigger the compression when the S sounds cross the thresh-
old. This compression occurs to your main vocals, and eliminates the nasties.
Experiment with the EQ settings and the compressor settings to hone-in on audio loveliness. You
don't want the EQ to be triggering compression for frequencies you want to keep.
Remember that the Compressor's Key Solo button is your friend. It will let you listen to the
(EQ'd) Key Input, as you fi nd the frequency range you want to ultimately compress.
7. Here is a rough guide to setting up the compressor controls as a De-Esser. (The controls are de-
scribed in more detail in the rest of the manual.)
Use:
Short Attack time and short Release time.
Compression Ratio around 2:1 or 3:1.
Gain reduction of no more than 3 to 6 dB, otherwise the singer might sound like they have a lisp
(well, unless you want that, or it is an improvement).
Soft Knee sounds more natural, so add a few compressor nodes to gently bring in the compression.
Key Solo