By only triggering on the attack of the instrument you’ll be able to control the timing of the low end more precisely. In this case, you can use a sidechain filter to exclude the lower frequencies of the instrument. Also, very fast release times can start to introduce distortion as the gate/expander starts to react to individual cycles of the wave. If that’s the case, it is possible you’ll have a problem adjusting the threshold. When you’re using this technique on low-end heavy instruments with a lot of sustain, the sustain can tend to keep the gate/expander open. A reasonably fast release time can significantly reduce the sustain of the drum, and if present the reverb/room bleed. Adjusting the attack and release controls allow you to carefully adjust the tail of the kick drum. To do this, start with a hard knee to ensure you can be very precise and surgical with your threshold. With a downward expander you can surgically tame the sustain of the kick so the bass notes can have some space to bloom. A kick drum with a long sustain can easily start to mask lower notes of a bass guitar which usually sustain longer than a kick drum. While you can achieve great results with eq, expansion can sometimes solve the issue without changing the tonal quality of an instrument. Let’s consider you’re encountering some masking issues between a kick drum and a bass guitar. In most cases, you’ll use the downward expander to solve issues that revolve around the sustain, or tail of a sound. Used with moderate ratios a downward expander can be a powerful tool to change the dynamics of an instrument or dynamic relationship between instruments. Downward expansionĪ downward expander allows you to turn the signal down by a set ratio once the signal drops below the threshold, gating being the most extreme form of downward expansion. This article is specifically written to broaden your knowledge of this versatile tool, making it a powerful asset in your mixing arsenal. While expanders are widely used as noisegates, or creative effects with use of the sidechain input, subtler ratios can also be incredibly useful to shape the envelope of a sound. In essence, an expander is a tool that can increase the dynamic range by either turning down a signal below the threshold (downwards expansion), or turning it up above a set threshold (upwards expansion). Gating is an extreme form of downward expansion, that’s why you’ll often see the tool being referred to as an expander/gate. With a stonking sound and incredible flexibility, Volcano 2 is a must for anyone seeking a characterful all-in-one filter solution.Most people working with audio will be familiar with gating, a gate turns down the signal completely once it falls below a set threshold. Thankfully, with FabFilter's famously tasty filter algorithms under the hood, the sound is as slick as the graphics, and the broad range of options only sweetens the deal. Overall, Volcano's interface works beautifully, making it a snap to create anything from simple roll-offs to complex rhythmic effects and textures. Similarly, overdriving the filters can create distortion, and the envelope follower can be used to achieve compression. For example, every filter has a Delay setting ranging from 0-50ms - by modulating this, chorus and flanging can be achieved. Each modulator can be routed to one or more parameters by dragging and dropping, and each connection has its own slot in which you can manage the source, destination and polarity of the modulation.īy applying a little know-how (or using the supplied presets), you can also go far beyond the usual resonant filter sweeps. XLFOs can have up to 16 steps, with global and per-step glide settings, and each step can use a Sine, Linear or one of two Square curves.Īll this offers much more control than the original's LFOs, which couldn't manage a sine LFO. Volcano 2 displays the modulators on a scrolling panel, and it's possible to have up to six envelope generators, four envelope followers and six LFOs - or as Volcano 2 calls them, XLFOs. However, rather than being given a fixed number of modulators, you can add or remove them as you see fit. The host-syncable modulation system is superficially similar to that of FabFilter's Twin synth. The filters can be linked so that adjusting or modulating the cutoff frequency or resonance of one affects any others it's linked to - useful when creating stereo effects. The last of these modes is pretty unusual for a filter plug-in, providing great potential for stereo image manipulation.
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