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Message: [QUOTE="Bombastus, post: 90985, member: 2178"] CarbonDSP Vellum lowers its finished wet signal while a vocal is present without shortening or damping the reverb tail itself. That distinction sounds small, but it changes what you are controlling. Vellum keeps generating the same space, then turns the wet result down around the words. The familiar manual version needs a reverb return, a compressor after the reverb, and the dry vocal routed into the compressor sidechain. When the singer enters, gain reduction pushes the return down, then the tail rises during pauses as the compressor releases. Vellum folds that [B]voice-triggered wet-signal control[/B] into the reverb itself, which removes routing without changing the basic mixing idea. [HEADING=2]Ducking the wet level leaves the decay behavior alone[/HEADING] Shortening decay solves a different problem because it reduces how long energy remains in the room model, making the ambience tighter and less persistent. Damping changes the tonal decay by making parts of the spectrum fade faster, usually removing brightness or low-end buildup as the tail develops. Vellum's DUCK control works after that behavior has already produced the wet signal. CarbonDSP describes it as a sidechain taken from the input that pulls down the finished wet output during singing, while the underlying tail continues. You hear less reverb over the phrase, but the decay has not been recalculated into a smaller room or darker tail. That matters most when you actually want a long vocal reverb. A conventional fix for muddy lyrics is to trim the send, shorten the decay, darken the return, or some combination of all three. Those moves can improve intelligibility, but they also reduce the sense of space during gaps where a long tail is easiest to hear. Broadband ducking reduces the whole wet signal whenever the detector reacts, unlike spectral unmasking that suppresses only conflicting frequency regions. Vellum makes the simpler level move, preserving the chosen Room, Plate, Hall, or Air decay instead of rewriting its frequency behavior around every phrase. [HEADING=2]Vellum removes threshold chasing from the basic workflow[/HEADING] A sidechained compressor normally makes you balance threshold, ratio, attack, release, and the level feeding its detector. Change the vocal gain upstream and the amount of compression can change with it. That is useful when you want detailed envelope control, but it also means the ducking setup can need another pass after ordinary vocal edits. Vellum handles input-level sensitivity internally by normalizing its duck detector against a slow running level, according to CarbonDSP. The ducking depth therefore does not change simply because the input gain changes, keeping an upstream vocal-level edit from automatically creating a harder clamp. That normalization is a practical difference from a threshold-driven return compressor. A louder verse can cross a fixed threshold harder than a quiet verse, even when you wanted the same spatial balance in both. Vellum's detector is designed so input level alone does not redefine the chosen ducking depth. A manual compressor still earns its place when you want to exaggerate pumping or tune recovery around a specific rhythmic pattern. The built-in route is aimed at a narrower job. You set the vocal space, then use DUCK to create room for the words without rebuilding an aux chain. Vellum also adds no plugin latency, which matters for a tool intended to sit directly in a working vocal chain. The [B][URL='https://goldmidi.com/community/threads/carbondsp-introduced-four-audio-plugins.76243/']CarbonDSP four-plugin Windows release[/URL][/B] introduced that behavior as part of Vellum's vocal focus. The ducking therefore avoids delaying the processed path simply to gain advance detection. The current 1.1.0 release also handles stereo input properly. Earlier builds folded material before the reverb stage, so a hard-panned source returned differently than intended. For a centered mono lead, little changes, while panned doubles and stereo buses now feed a tail that follows their image instead of collapsing first. [HEADING=2]The display separates tail shape from gain reduction[/HEADING] Most ducking tutorials rely on a compressor meter that shows only how much level is being removed. Vellum instead measures its generated response, plots three frequency-band decay curves, marks T60, and traces ducking gain reduction over that view during playback. That gives you two different pieces of information at once. The decay curves show the reverb over time, while the moving reduction trace shows when the wet signal moves out of the vocal's way. Raise DUCK and the words can clear while the measured decay keeps describing the same underlying space. Predelay remains a separate timing decision because moving it changes how long the first reverberant energy waits behind the dry voice. DUCK changes how audible the finished wet signal is during the phrase, so the controls can solve different collisions without sacrificing tail length between lines. [/QUOTE]

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