What effect ducking does
Ducking reduces the wet delay and reverb level while the dry input is present. As the source becomes quieter, the wet field returns. The result is not less ambience overall; it is ambience that makes room at the moments when intelligibility and impact matter most.
Think of ducking as an automatic performance-aware wet control: dry sound arrives, effects step back; the phrase ends, effects move forward.
This is closely related to sidechain compression, but a purpose-built ducking control hides the routing and exposes a direct musical amount. ALEVRB applies its global Ducking control to the complete wet field rather than placing it inside only the delay or reverb module.
When ducking is useful
Vocals and dialogue
Long tails and feedback can mask consonants. Ducking holds the center clear during each phrase and lets the space open between lines.
Drums and percussion
Transient impact can disappear when reverb begins at full strength immediately. A small amount of ducking preserves the attack while keeping the decay audible.
Lead instruments
On guitar, synth, or keys, ducking lets a generous ambient setting feel large without pushing the notes backward every time the player becomes active.
How to set ducking by ear
- Build the delay and reverb sound first with Ducking at zero.
- Raise the wet level until the effect is slightly more obvious than you ultimately want.
- Increase Ducking while the busiest phrase loops.
- Stop when the dry articulation returns but the effect still feels connected.
- Listen to the release into silence. If the wet field jumps forward unnaturally, reduce the amount.
The correct setting depends on source dynamics. A stable synth pad may need little or none; a vocal with clear gaps can tolerate much more. Judge it in the arrangement, not in solo.
How ducking interacts with routing
In Parallel mode, global ducking moves both independent paths together, preserving their balance. In either serial mode, it reduces the combined chain after the two processors have interacted. This prevents one path from remaining loud while the other steps back.
Ducking is different from bypass. The effects continue processing, so their tails and repeats remain ready to emerge when the dry input relaxes. That continuity is what makes the return feel natural.
What to avoid
- Using ducking to fix excessive feedback: lower the feedback first so the tail remains controlled after the source stops.
- Setting it in solo: a dramatic solo effect can be exactly right once the full mix supplies masking.
- Removing all wet signal during phrases: complete separation can sound disconnected. Leave enough ambience to join the dry source to the tail.
- Ignoring output level: compare with and without ducking at a similar perceived loudness.