Sonnox Oxford SuprEsser - Manual (Page 24)

4.1 Basic
Screen
Controls 4 DESCRIPTION OF CONTROLS
filters. Generally speaking, you want the highest setting for maximum separation
between troublesome and non-troublesome sounds. However, you may find musical
or creative possibilities in using gentler slopes. For example, when using lower
settings there is a smoother blend between gain-ducked components and the
original, which will be more noticeable when using large amounts of gain reduction.
The slope can also be changed on the graph itself by dragging vertically on the red
arrows at the top of the filter’s left and right width lines (see Section 3.3 Graphical
Screen Controls for more details)
4.1.6 DYNAMICS Section
THRESHOLD Fader
and
Touch
Pad
The THRESHOLD Fader is linked to a cyan threshold line on the graph, where it has
a relationship with the red peak level line. The THRESHOLD may also be changed
by dragging vertically on its touch pad.
Generally speaking, after you have isolated as narrowly as possible a troublesome
sound within the frequency spectrum, using the bandpass filter adjustment controls
(Frequency, Width, or the drag controls on the graph), you should then lower the
threshold fader until the gain reduction begins to kick in.
By default, the threshold is relative to the general signal level, and this is why the
threshold line moves up and down on the graph as the level of the audio signal
changes. You should aim to move the threshold until you hear the right amount of
gain-reduction taking place. The plug-in, by tracking the general signal level,
attempts to keep this gain reduction amount constant as the signal level climbs or
falls.
EFFECT:
IN Button
This enables/disables dynamics processing of the main compressor signal, and
allows you to do glitch-free with/without comparisons of the gain-reduction effect.
ATTACK Touch
Pad
The Attack control quickens or slows down the reaction time of the compressor.
Smaller numbers mean faster reaction times and harder sounding results. Go too
fast and you may hear distortion when working at lower frequencies. Bigger
numbers mean slower reaction times and softer sounding results. Go too slow and
you may not react to fricatives quickly enough to catch the hard front edges of
consonants like T’s.
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