Oh...But it gave a nice NY feel, you could hammer it hard and then blend with the mix..familiar paradigm and different colouring to my ears.
Its amazing how use to workflows we get...I always imagined it was easier to get the 'hammered' pop/pump and apply a smiley eq and then slow blend it in. Its not quite the same...I just have to add another track and blend with that although its not quite as elegant. I was doing beta for Supresser and the simple mix feature was one of the most suggested!
If you consider a gain reduction envelope that oscillates from 0 to -6 dB (1.0 to 0.5 linear), setting dry mix to 50% will reduce the oscillation to 0...-2.5 dB (1.0 to 0.75 linear) which is the same as setting the ratio from e.g. 4:1 to around 2:1.
So, it's quite the same thing, you do not even need to adjust the threshold - but for a better control I think threshold should be adjusted liberally.
On a theoretical level...absolutely correct and the same result. But when dealing with colour eg UAD 1176 on a parallel drum buss with reasonably fast release, there is a whole lot of non linearity and tubey grit going on. So, as a workflow, hammering the all buttons with slow enough attack to get it popping and gritty, then blending, it really just feels nothing like reducing the ratio. Its more like taking a dab of the current colour eg magenta, smearing it onto the pallete and adding some tints, and then adding a bit more of the original magenta to bring it back. I know thats subjective paradigm and the soniformer is more about control than colour, I think its old school but it just feels right :-) And its a very familiar mixing concept...ie identify the (extreme) colour first and blend it.
Thanks for the help.
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