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Flexible, channel-split mix-bus compressor for modern, hybrid and hardware mixing with sidechain mix and stem mix compression return
The Goly Stem Mix & Compression Matrix is a flexible, channel-split mix-bus compressor for modern, hybrid and hardware mixing. With the sidechain mix and stem mix compression return, you can easily expand your possibilities in an integrated, hands on manner. In extreme examples, it can be used it as a drum sub mixer, with only the snare attacking the compression circuit, or you can simply set all SC mix controls flat on all subgroups, summing to stereo.
The stem outputs on all channels are useful in terms of delivering stems for further processing or stem mastering. The idea is, you can get 95% of the way rolling your hybrid set-up, and with the stems back itb, you can do minor tweaks for mix polishing or mastering applications. Stem outputs deliver the isolated tracks, with the master processing applied, as if the channel was still “part of the whole” in terms of buss processing.
The basic circuit consists of 8 channels, grouped into stereo, and a master compression engine that feeds back to each channel/stem. Each channel is split into a side chain mix, which sums into the compression side chain. The control voltage is routed back through stem compression mixer, where you can adjust the amount of compression folding back to each stem. In addition to that, there is a direct stem output, and a fully featured compression section.
These are your standard, signal path gain controls. The channel gain controls gain section come into play when adjusting levels relative to the offset in balance brought on by outboard processing, and also depends on how well the mix elements blend/mix during hybrid operation. Range is ±5 dB
The Side Chain mixer adjusts the levels going into the engine room of the master compression section. In essence, this lets you adjust what the compressor sees, and triggers off of. You can do odd things, like bring up elements further than they are in the signal path to push harder, back off bass elements to inject less low end, or just set them all flat, so everything goes into the side chain as per usual. What really matters is, how the SC Mix makes your compression react, but in the master section, you’ll find a “SC LISTEN” function, which routes the Side Chain Mix to the output for auditioning. (Please note the fidelity of the Side Chain Mix is lower than the fidelity of the actual signal path, if you want to use it creatively for processing
On a standard compressor, your compression/threshold sets the amount of compression. This is no different, apart from the fact, that you can send it “per channel” To put it into context:
There is a compression dial in the master section for global nudges, as well as global gain compensation.
The attack time of the dynamic processing. Note that the fastest times are marked red on front, since these can cause distortion on some program material. We left in those fast settings, even thought they can almost make the unit sound “broken” in some instances, because the mentioned distortion is just as often extremely pleasing and helpful. It depends, and cutting it into “safe” range would leave out something really special.
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