DynCurve

The Attack parameter sets how quickly the envelope follower responds to rising signal levels. In addition to the attack time, DynCurve lets you define the character of the attack using two modes:

The Release Parameter defines how quickly the envelope follower responds to falling signal levels. DynCurve features a dual release architecture, allowing two independent release times to work together. By blending between them, DynCurve allows fast local recovery without sacrificing long-term smoothness.

• responsive without sounding nervous
• dense without pumping
• natural without losing energy

In addition to peak detection, DynCurve offers RMS-based envelope detection, which follows the energy of the signal rather than its instantaneous peaks.

This is particularly effective for:

• vocals
• bass
• pads & sustained sounds
• bus compression

Many classic compressors use RMS detection for a smooth and musical behavior. DynCurve allows you to blend this behavior continuously instead of committing to a fixed detection mode.

The Sidechain Source determines which signal is used as the basis for level measurement.

• Internal uses the plugin’s input signal
• External allows a separate signal to feed the measurement path

The Sidechain Low Cut applies a high-pass filter to the sidechain signal.

This reduces the influence of low frequencies on the measurement, helping to avoid excessive gain movement caused by bass-heavy content. It is especially useful for mix bus processing, drums and full-range material.

Sidechain Trim adjusts the level of the sidechain signal.

This allows you to:

• move the measured signal into a useful operating range
• increase or reduce the overall intensity of the dynamic response
• drive an existing transfer curve harder or more gently

All without changing the curve itself.

Stereo Link defines how the sidechain envelopes of the left and right channels interact.

• At 0%, each channel is measured independently
• At 100%, both channels share the same control signal

Intermediate values allow a balance between stereo stability and independent channel behavior.

Mid to Side reroutes the sidechain for the Side domain so that it is driven by the Mid signal.

This allows the dynamics of the Side signal to respond to the level of the center content, enabling unconventional spatial effects and creative control scenarios.

It is particularly useful when working with mono or external sidechains that would otherwise only affect the Mid domain.

This mode intentionally breaks conventional routing assumptions and is designed for creative exploration.

These options determine whether the Center and LFE channels are included in the plugin’s internal sidechain (control signal) used for level detection. They appear only when the plugin is inserted on a multichannel track or bus. When enabled, the channel is included in the sidechain; when disabled, it is excluded from the detector signal. Why that can be useful:

• Center channel: Often carries dialogue. Excluding it prevents dialogue peaks from triggering dynamics processing on the entire mix.
• LFE channel: May contain strong low-frequency peaks. Excluding it avoids excessive triggering caused by sub-bass energy.

This setting affects only the control signal. The resulting gain change (dynamics processing) is still applied to these channels; they are simply excluded from influencing the detector.

Dynamic processing with very fast attack or release times can introduce additional high-frequency content. In a digital system, frequencies above the Nyquist limit cannot be represented correctly and may fold back into the audible range as aliasing artifacts.

Oversampling reduces this effect by processing the signal at a higher internal sample rate, allowing these frequencies to be handled more accurately before being converted back to the original rate.

Oversampling is especially beneficial when using fast envelope settings or sharp transfer curves.

When Asym Mode is enabled, DynCurve uses separate envelope followers for the positive and negative halves of the waveform. This breaks the usual symmetry of dynamic processing and introduces subtle nonlinear behavior.

Depending on the settings, this can result in anything from gentle coloration to more pronounced distortion-like effects. The behavior is comparable to certain characteristics of analog saturation, where positive and negative signal excursions are treated differently.

However, DynCurve retains full control over timing and response, keeping the behavior predictable and adjustable. Asym Mode is intended as a creative tool and can be used deliberately to add character, density or experimental edge to a signal.

When enabled, Auto Gain estimates a compensation gain based on the shape of the transfer curve. This helps balance level changes introduced by the dynamics processing.

The estimation is calculated from the curve itself and does not measure the incoming audio signal. Because of this, Auto Gain provides a quick level approximation rather than an exact loudness or level match.

This can be helpful when dialing in typical compression settings, as it roughly compensates for gain reduction or upward gain changes and makes it easier to compare processed and unprocessed signals.

With very extreme settings or unusual transfer curves, the estimation may become less accurate, so manual adjustment or measured matching may still be desirable.

The estimated compensation gain is displayed in a small label next to the control. Auto Gain is applied before the Wet / Dry mix in the signal path.

Level Match continuously compares the input and output level of DynCurve and displays the current difference between them. This makes it easier to judge the actual effect of the processing without being distracted by level changes.

Two independent delta readouts are available:

• Delta TP shows the difference in True Peak level between input and output
• Delta RMS shows the difference in RMS energy between input and output

Each readout has its own Match button. Pressing Match adjusts the Output Gain so that the selected input and output measurement are aligned at that moment.

Unlike Auto Gain, Level Match is based on the measured audio signal rather than the transfer curve alone. This makes it a practical fine-tuning tool after shaping the dynamics.

In practice, Auto Gain can be used as a fast starting point, while Level Match can then refine the final Output Gain using either True Peak or RMS measurement.

The Wet / Dry Mix blends the processed signal with the original, unprocessed signal. Adding dry signal first reduces the overall intensity of the dynamic processing.

The effect of the transfer curve becomes less pronounced, while its general shape and behavior remain intact. This reduction is not uniform: larger gain changes are smoothed more strongly than smaller ones.

In practice, this creates a more controlled and natural response:

• strong peaks and deep gain reductions are restrained
• fine dynamic detail is preserved

Wet / Dry Mix is therefore an effective way to refine complex curve shapes, reduce excessive movement and dial in the exact musical impact of the processing.

Output Gain adjusts the final signal level at the end of the processing chain.

It is primarily used to compensate for level changes introduced by the dynamics and to match the processed signal to the original level.

Output Gain can be set manually, estimated with Auto Gain, or adjusted automatically by the Level Match buttons using the current True Peak or RMS delta measurement.