We are all familiar with duckers from their common broadcast application—when the DJ speaks, the music is turned down. Most hardware gates provide a switch that turns the gate into a ducker. Even the small dynamics sections on large-format consoles sometimes offer such a feature. For no apparent reason, duckers are hard to find in the software domain. At the time of writing, the SV-719 in Figure 21.1 is one of the very few plugins that offers ducker functionality. However, ducking as an application is a common part of mixing that is arguably slightly underused.
Looking back at the internal architecture of a gate in Figure 19.2, all that needs to be done to turn a gate into a ducker is to swap the threshold outputs (above and below). Indeed, duckers offer exactly the same controls as gates and work in a similar way. The sole difference between the two is that while a gate attenuates signals below the threshold, a ducker attenuates signals above the threshold. Put another way, once the signal overshoots the threshold, it is attenuated (ducked). The amount of attenuation is fixed and determined by the range. Figure 21.2 illustrates the transfer function of a ducker.
The rationale for attenuating a signal by a fixed amount once it exceeds a certain threshold is yet to be discovered. But there are many reasons for attenuating a signal once a different signal exceeds a certain threshold, like in the radio example above, where we want the music attenuated when the DJ speaks. To achieve this, we use the key input—the ducked signal (e.g., the music) is fed into the ducker’s input, and the ducking signal (e.g., the voice) is fed into the key input. Whenever the voice exceeds the ducker’s threshold, the music will be attenuated. Figure 21.3 illustrates this arrangement, and Figure 21.4 shows it in action. Ducking applications always make use of the key input in a ducked/ducking arrangement.
As can be seen in Figure 21.4, gain reduction on the ducked music was applied gradually. This is due to the attack and release times, which ensure that no clicks occur. In the case of a ducker, the attack determines how quickly the ducked signal is attenuated, while the release determines how quickly the signal returns to its normal level. Also, in Figure 21.4, inspecting the music levels during the attack descent suggests that some music could still interfere with the voice. In addition, there is a hint that once the voice had faded away, the music rise during the release stage was audible. Shortening the attack and release might cause clicks and might not be musical. This is where look-ahead can be extremely useful—ducking starts and ends slightly beforehand, letting us dial more-musical time constants. The hold parameter gives us added control over the ducker behavior once the side-chain signal drops below the threshold.
As already mentioned, often compressors are utilized as duckers. It is worth demonstrating the difference between a real ducker and a compressor used as a ducker. Both processors attenuate the treated signal once the side-chain signal overshoots the threshold. While on a ducker the amount of attenuation is fixed, on a compressor it varies in relation to the overshoot amount. This means that as the side-chain signal fluctuates in level, the amount of gain reduction fluctuates and so does the compressed signal. These differences are illustrated in Figure 21.5.
The following tracks demonstrate the difference between a ducker and a compressor-ducker. In both tracks, the uncompressed vocal ducks the guitars. With the ducker, the gain reduction is constant, whereas with the compressor-ducker the gain reduction varies in relation to the level of the voice.
Track 21.1: Ducker
Track 21.2: Compressor Ducker
Plugins: Logic Ducker, Logic Compressor
In a mixing context, duckers make one instrument quieter when another gets louder—an incredibly useful way to combat masking. Say, for example, we want the full slap of the kick but the distorted guitars mask much of it. We can reduce this masking interaction by ducking the distorted guitars whenever the kick hits. It can be surprising how much attenuation can be applied before it becomes noticeable, especially when it comes to normal listeners. Whether done for a very brief moment or for longer periods, ducking is an extremely effective way to clear some space for the really important instruments. Indeed, it is mostly the important instruments that serve as ducking triggers and the least important instruments that are the ducking prey. While the options are endless, here are a few common places where this can be done:
Remember ducking when you fight masking or clouding, or you are after prominence.
Track 21.3: Vocal Reverb Normal
A normal arrangement where a vocal is sent to a reverb, but the reverb is not ducked. The dense reverb sends the vocal backward, clouds it, and reduces its intelligibility.
Track 21.4: Vocal Reverb Ducked
The vocal in this track ducks its own reverb. Notice how, during vocal pauses, the reverb gets louder. Compared to the previous track, the vocal here is more focused and forward.
Plugin s: Sonnox Oxford Reverb, Sonnox Oxford Dynamics
There is a way to make ducking less intrusive yet more effective, but it involves giving the ducker a rest and using a compressor instead, more specifically a multiband compressor. Back to the earlier example of distorted guitars masking the kick, instead of ducking the entire guitar tracks with the kick, we can feed them into a multiband compressor that is side-chained to the kick. On the multiband compressor, we utilize the high-mids band, so the kick’s attack will compress the guitars every time the kick hits. Since no other frequency range will be affected, we can set a deeper ducking to the high-mids of the guitars.
An important goal in mixing is controlled dynamics. Compressors are often employed to contain the level fluctuation of various instruments. However, once levels are contained, the result can be rather vapid—all the instruments play at the same level throughout the song. Duckers can be utilized to insert some dynamic motion. Since we have full control over how this is done, we are kept in the zone of controlled dynamics. The idea is to add sensible level variations that reflect the action in the mix. Drums are often a good source of ducking triggers; vocals as well. We can, for example, duck the hi-hats in relation to the snare and we can even set a long release on the ducker so the hi-hats rise gradually after each snare hit. Or, we can duck the organ in relation to the vocals or the pad with respect to the lead. This is not done to resolve masking or add prominence; it is simply done to break a static impression and add some dynamism.
Ducking can infuse motion into a dynamically insipid mix.
Then there is always ducking for creative purposes and sheer effect. We can make drum loops and drumbeats far more interesting by incorporating ducking into them. We can feed a delay line into a ducker to create rhythmical level pulses. We can also duck the left channel of a stereo track in relation to the right, and vice versa, to create intentional image shifting.
Track 21.5: Drums No Ducking
This is the source track used in the following track. No ducking is applied on this track.
Track 21.6: Drums with Ducking
The hats and tambourine are ducked by the kick, with relatively long release. Notice how this track has added dynamic motion compared to the previous one.
Plugin: Digidesign DigiRack Compressor/Limiter Dyn 3
Drums: Toontrack EZdrummer
18.220.88.62