With dynamic grading, you can precisely shape and control different parts of your audio's dynamic range. Thanks to its dynamic histograms and intuitive graphical control, advanced dynamic processing is easier than ever.

Hit the mark
Hit your listeners with precise impact. Create depth by placing tracks in the foreground or at a distance.

Keep the body in shape
Place tracks in the right spot in the mix. Make instruments rock-solid, or dust them off and give them groove.

Sweep the floor
Add just the right amount of detail and reverb. Clean up unwanted noise and make your mix shine.

Introducing: The dynamic histogram
Dynamic grading focuses on dynamic histograms. Imagine a level meter moving very fast, and a superhuman statistician sitting in front of it, collecting statistics from the readings over time.

This type of chart tells us a lot about the audio's dynamics. It reveals the dynamic range (the highest and lowest readings), as well as which loudness regions are most prominent and how much the perceived loudness varies (= how dynamic it is).

A pronounced peak in the chart indicates fairly static audio with a low dynamic range, while a wide and flat shape means there is a lot of dynamic variation.

Intuitive graphical control
Remember the threshold and ratio controls? Having to use them to adjust compressors or expanders was fun while it lasted. But we can do better.

You just have to specify where the relevant dynamic ranges are in the source audio (markers on the left) and where you want them to be in the result (markers on the right). The dynamic histograms guide you to quickly find the optimal points.

When the target range is narrower than the corresponding source range, this part of the dynamic range will be compressed. If it is wider, it is expanded. Simple and seamless!

The anatomy of audio dynamics
In dynamic grading, the three fundamental dynamic regions are worked with independently.

The body range is where the "meat" of the signal is, such as vocal timbre or the sustained notes of instruments.

Just above, the punch range houses transients, consonants, percussive elements, and note onsets.

Finally, the floor contains elements such as the late decay of instrument notes, reverb, or background noise. Think of it as the "space between notes".

Make decisions about the sound
Control the perception of depth by adjusting the punch. Compress to get softer starts and a sense of distance, expand to increase impact and position a track in front and in the center.

Compress the body so that the most prominent elements sit firmly in the mix. Create more space by expanding the body when a track completely clutters the mix bus.

Adjust the reverb and background noise with the floor range. Expand it to gently reduce reverb or noise and gently clean up a recording. Or squeeze it to get weird and fascinating artistic effects.

Mix in the Dynamic Grading style
Are you ready to fully embrace the dynamic grading workflow? Put it on all tracks and leave all faders at 0 dB.

This way, you can basically paint your mix by placing individual tracks in the dynamic range, right where they should be.

We're not saying you should mix without even listening, but hey, with Dynamic Grading you probably could...