## 1. Technical Brief

YS‐Dual‐Mode Dynamics is a dynamic audio processing plugin with flexible selection of detection modes (peak/RMS) and detector connection schemes (direct / feedback). Supports Upward/Downward compression, parallel blending of linear and exponential curves (Blend), expander, soft clipper on detector and hard limiter on output. Includes dual release with module balance adjustment, filtering for the detector, external sidechain, oversampling and advanced visualization tools (VU‐indicators, hints, interface customization).

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## Compression character: pure and analog

YS‐Dual‐Mode Dynamics is able to sound both transparent and “warm”, depending on the selected settings - this gives flexibility for different information tasks.

**Clean, modern character**
Available at the following settings:
* peak detector — clearly catches transients;
* direct detector connection (without feedback) - gives a predictable, linear response;
* Soft, Sat and expander are disabled — minimum coloring;
* moderate Ratio (2:1–4:1) with a soft knee - smooths peaks without noticeable interference;
* quick release or double release with an emphasis on a short module - maintains the attack of tools.

In this mode, the compressor operates as neutrally as possible: it balances the dynamics without adding its own “personality” to the signal. This is handy for precise peak control on the master tire, for shocks or for situations where machining transparency is important.

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**Analog, "warm" character**
Close to classic Vari‑mu and vintage cantilever compressors in such combinations:
* RMS‐detector + feedback connection - compression becomes more musical, "breathing", with natural inertia;
* enabled Soft (soft clipper on the detector, 2–6 dB) - simulates the behavior of lamp circuits: peaks are gently rounded, not cut off;
* Blend with a slight rise of quiet sections and Sat (second harmonic 50–500 Hz) — adds nice density and harmonic saturation, especially on bass and vocals;
* slower release (Medium–Long) or double release in the ratio of 50–50% - creates a "gluing" effect of the mix, typical for analog circuits.

Such a mode is appreciated for its "analog" softness: the compressor does not just reduce the peaks, but gives the signal character, making it denser and warmer while maintaining its naturalness.

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Thanks to the separation of these capabilities in one plugin, you can quickly switch between “sterile” precision and vintage coloring — and even mix them through Blend and double release to get your signature shade.

## 2. Detailed Description

**Detection and Modes of Operation**
- Two detector types: peak and RMS. The switch is made by a separate tumblr.
- Two detector connection modes: direct (modern) and feedback (classic).
- The RMS‐module has a separate Response Rate (0–10) adjustment to adjust the response rate.
- Lookahead up to 50 ms for warning signal analysis.

**Compression and curves**
- Downward (downward) and Upward (upward) compression.
- Ratio with soft knee, interpolates between 1:1 and 10:1 curves.
- The Blend regulator (up to +24 dB, orange VU) parallel adds a VCA with an exponential curve to the main VCA with a linear curve: it increases the level of quiet areas without changing the loud ones. At zero Blend, only Downward‐VCA works.

**Dynamic Control**
- Threshold: 0–40 dB (red VU).
- Attack: main regulator + additional to select the preferred range 0–200 ms (Fast/Normal/Slow hints).
- Release: range 5–5000 ms (Short/Medium/Long prompts).
- Dual release: the button includes two independent release modules; the regulator sets the ratio (50–50% or 70–30%). The first module is displayed in white, the second in blue.

**Additional chains and processing**
- A soft clipper on the detector (Soft, 0–8 dB) simulates the behavior of analog Vari‐mu compressors.
- Filter for the detector (K‐Filtr): cut low frequencies from 60 Hz and raise the shelf by 2 kHz (+4 dB).
- Expander (Exp): enabled by the tumbler, reduces the level of noises that can be amplified when running Blend; attack fixed at 0.2 ms, release adjustable at 5–500 ms; threshold is bound to the Blend value.
- Hard limiter (Clip): limits the peaks of the output signal to −0.5 dB.
- Sat: adds the second harmonic in the range 50–500 Hz

**Signal Paths and Routing**
- Mix: adjust the ratio of direct to processed signal.
- Link: smooth communication of detector signal from mono to stereo.
- SC: switching detector input to external signal (sidechain); separate external signal volume control with small VU‐indicator.

**Output and Measurement**
- Output: output volume control ±24 dB (white VU).
- LUFS‐indication: values ​​are reset by mouse click.
- Oversampling: selecting a raised sampling rate with filters.

**Interface & Convenience**
- RST: reset all parameters to factory settings.
- Bypass: bypass processing to comparenia with the original signal.
- Customization: 4 buttons in the bottom right corner change the color of the substrate, the style of the VU‐indicators (LEDs/arrows), the type of faders (plastic/metal) and the style of the swivels (retro/Neve).
- Pop-up prompts when hovering over controls.

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## 3. Recommendations for use

**For vocals and speech**
- Use RMS‐detector and feedback mode for a natural "analog" character.
- Turn on a soft clipper (Soft 2–4 dB) to smooth transients without harsh compression.
- For a tighter sound, apply a small Blend (3–8 dB) to tighten quiet phrases, and if necessary, turn on the expander (Exp) to control background noise.
- Choose an attack in the range of Normal (30–80 ms), release — Medium (300–800 ms).

**For percussion and percussion**
- Choose peak detector and direct connection for fast response to transients.
- Apply a moderate ratio (Ratio closer to 4:1–6:1) and a hard attack (Fast, 1–5 ms) for clarity.
- If necessary, use a double release: the first module (Short) to control the transients, the second (Medium) to "tail" the drum. A ratio of 70–30% often gives a good balance.
- If it is necessary to add "heat", turn on Sat with a small level.

**For bass and bass instruments**
- Combine Blend and Sat to lend density and readability in the mix: Blend will pick up quiet notes and Sat will add harmonic saturation.
- Avoid excessive use of the expander to avoid losing the low frequency punch.
- To control the peaks, turn the Clip on at −0.5 dB and monitor the output level.

**For group buses and master channel**
- Use RMS and feedback mode to make compression feel like "gluing" the mix.
- Keep the Ratio in the range 2:1–4:1, attack - Normal, release - Long to avoid "swing"
- Double Release is useful for complex signals: the first module reacts faster to spikes, the second holds the overall level.
- Monitor LUFS and VU: if necessary, adjust the Output to stay within the target range.

**Practical Tips**
- Start with moderate settings and add processing gradually.
- Use Mix for parallel compression: leave part of the direct signal to preserve dynamics.
- When working with sidechain (SC), pick the external signal level so that it accurately reflects the desired compressor response.
- Detector filtering (K‑Filtr) is useful when you need to make the compression less sensitive to low frequencies or more sensitive to the mid.
- Regularly toggle Bypass to make sure the processing actually improves the sound and doesn't just change the character of the signal.


## Basic settings for presets

### Transparent Vocal Compression Preset
* **Detector**: RMS (music response to phrase dynamics).
* **Comp (connection type)**: with feedback (for "analog breathing").
* **Threshold**: −12 dB (soft trigger).
* **Ratio**: 3:1 (with a soft knee — without sharpness).
* **Attack**: main 30 ms, Normal range (to avoid eating consistent).
* **Release**: basic 400 ms, Medium range; double release is off.
* **Blend**: 0 (pure Downward‐compression, no lifting of quiet areas).
* **Soft**: 2 dB (slight rounding of peaks, almost imperceptible).
* **Sat**: off (neutral tone).
* **Clip**: off.
* **K‐Filtr**: off (no need to filter the detector for clean vocals).
* **Mix**: 100% of the processed signal (or 70–80% if you want to preserve more dynamics).
* **Output**: +2 dB to compensate for volume loss.

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### Preset “Clear strikes (kick and snare)”
* **Detector**: peak (maximum response to transients).
* **Comp**: direct connection (predictable and quick reaction).
* **Threshold**: −8 dB (so that compression catches peaks).
* **Ratio**: 5:1 (stronger attack).
* **Attack**: basic 2 ms, Fast range (to save punch).
* **Release**: basic 150 ms, range Short; double release is included, the ratio of 70% (fast) / 30% (slow) - to control both the peak and the "tail"
* **Blend**: 0.
* **Soft**: 0 (need clarity, not rounding).
* **Sat**: 20–30 % (light "meatyness" without dirt).
* **Clip**: enabled (−0.5 dB) — for peak control.
* **K‐Filtr**: enabled (so that lows do not "shake" the detector and compression does not "breathe" from the kick).
* **None**: 100%.
* **Output**: +1 dB.

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John Mayer Style — Legibility in Mix)”
* **Detector**: RMS (so that compression felt like "gluing").
* **Comp**: with feedback (musical character).
* **Threshold**: −10 dB.
* **Ratio**: 4:1 (reliable compression without "rocking").
* **Attack**: basic 20 ms, Normal range (to preserve mediator attack).
* **Release**: basic 600 ms, Long range; the dual release is off (for a smooth, tight sound).
* **Blend**: 6 dB (strengthens quiet notes so that the bass does not fail).
* **Soft**: 3 dB (light analog rounding).
* **Sat**: 40 % (harmonic density).
* **Clip**: enabled (−0.5 dB).
* **K‐Filtr**: enabled (cut 60 Hz so that compression is less responsive to infrared frequencies).
* **Exp**: off (to avoid losing punch on bass).
* **Mixed**: 90–100%.
* **Output**: +3 dB.

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### Preset “Group bus (instrument group gluing)”
* **Detector**: RMS.
* **Comp**: with feedback.
* **Threshold**: −14 dB (very soft compression).
* **Ratio**: 2:1 (minimal interference).
* **Attack**: basic 50 ms, Normal range.
* **Release**: basic 800 ms, Long range; double release is included, 50%/50% — so that both peaks and the overall level were controlled evenly.
* **Blend**: 3–5 dB (slight effect of "pulling" the quiet elements of the group).
* **Soft**: 4 dB (analog smoothing).
* **Sat**: 20 % (light heat).
* **Clip**: off (on tires it is better to avoid the limiter unless rigid control is required).
* **K‐Filtr**: according to the situation: if there are many low - to include, if the group "middle" - to turn off.
* **None**: 100%.
* **Output**: 0 dB or +1 dB.

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### Parallel Compression (New York style) preset for percussion band
* **Detector**: peak.
* **Comp**: direct connection.
* **Threshold**: −20 dB (compression is triggered strongly, but at quiet levels).
* **Ratio**: 8:1 (hard compression for "hit").
* **Attack**: 1 ms, Fast.
* **Release**: 200 ms, Short; double release 70%/30%.
* **Blend**: 0.
* **Soft**: 0.
* **Sat**: 50 % (so that the parallel signal is "bright").
* **Clip**: enabled.
* **K‐Filter**: enabled.
* **Mix**: 25–40% (parallel signal mixed to dry).
* **Output**: adjust so that the overall level does not increase.

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These presets can be used as starting points and then adjusted for a specific track: for example, for a more "vintage" tone to increase the Soft and Sat, and for a "modern" purity - to clean them and switch to the peak det.