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Dynamics 009: Stereo Gate
771
LIMITER
Threshold [dB] [–30.0…0.0]
This affects both the limiting threshold and the output
gain.
Signals above the Threshold will be limited; signals
below this level will not be limited, but will still benefit
from any increase in output gain (see below).
The output gain is automatically increased by the
difference between the Threshold and the Out
Ceiling. For instance, if the Threshold is -9.0dB and
the Out Ceiling is -3.0dB, gain will be increased by
6dB.
Out Ceiling [dB] [–30.0…0.0]
This controls the maximum output level. In general,
it’s best to set this slightly below 0.0, in order to
accommodate the less-than-optimal output stages
which are sometimes found in consumer audio
devices.
An aggressive setting would be -0.3dB; a conservative
setting, to avoid clipping on some older CD players,
would be -3dB.
Release [msec] [0.65…1000.0]
This controls how long it takes the limiter to allow the
gain to rise again after the signal is no longer above the
threshold. Generally, settings between 1.0 and 5.0
milliseconds will be most effective. For more
information, see “Release [msec]” on page 766.
OUTPUT
Wet/Dry [Dry, 1:99…99:1, Wet]
Sets the balance between the effect and the dry input.
Important: The look-ahead delay will cause phasing
effects if this is set to any in-between values
(1:99…99:1). Only completely Wet or Dry will sound
correct.
Source [Off…Tempo]
Selects a modulation source for Wet/Dry.
Amount [+/–100]
Sets the modulation amount for Wet/Dry.
Using the Stereo Mastering Limiter
Careful compression and limiting are great mastering
tools. Here are some simple instructions which should
produce good results with most material:
1. Go to the TFX/MFX page.
2. For TFX2, select 008: Stereo Mastering Limiter
The limiter should be the last effect before the output.
3. Set the Out Ceiling to a value between -0.3dB and -
3dB.
4. Leave the Release at the default setting.
5. Make sure that Wet/Dry is set to Wet, with no
modulation.
6. Go to the loudest part of the song.
7. While playing the song, adjust the Threshold, and
watch the gain reduction meter. Set the Threshold
so that the gain reduction meter rarely if ever
shows more than 6dB of limiting.
You could also use a compressor in TFX1, before the
limiter, such as 002: Stereo Compressor or 004: St.
Multiband Compressor.
Above all, remember to be gentle; the more you
increase the volume, the more likely you are to add
distortion.
009: Stereo Gate
This effect mutes the input signal when it falls below a
specified level. You can also invert the on/off status of
the gate, or use note-on/off messages to turn the gate
on/off directly.
ENVELOPE
Source [Dmod, Input,
FX Control 1,
FX Control 2]
Selects the source to control the gate: Dmod control, or
use the input signal or FX Control Bus 1 or 2 as a
trigger. p.765.
Dmod Control [Off…Tempo]
Selects the source that will control the gate when
Envelope Source = Dmod.
Select [L/R Mix, L Only, R Only]
Selects the control signal: left and right linked, left
only, or right only. p.765.
Fx Control Trim [0…100]
This adjusts the level of the FX Control Bus inputs.
Side Chain Monitor [Check-box]
Switches between monitoring the effect output and the
trigger signal. For more information, see “Side Chain
Monitor” on page 768.
SIDE CHAIN EQ
This band of fully parametric EQ applies only to the
control signal, and not to the main audio path. Use it to
alter the response of the limiter so that it reacts (or does
not react) only to specific frequencies. Its parameters
are identical to those in the Stereo Limiter; for more
information, see “SIDE CHAIN EQ” on page 769.
Left
Right
FX Control BUS 1
FX Control BUS 2
Wet / Dry
Wet / Dry
Stereo In - Stereo Out
Envelope Source
Gain Adjust
Gain Adjust
Side PEQ
Envelope - Control
Envelope - Control
Trigger Monitor
+
Envelope Select
Gate
Delay
Gate
Delay
D
-mod