Sidechain compression logic pro8/18/2023 That means you set up different sidechain compressors on each track with different compression settings (ratio, attack, etc.) such that the kick triggers the sidechaining on the compression on each track. The second way to do that is by sidechaining every track individually. The first sidechaining effect is when everything except the kick goes to a single track, on which a compressor is applied such that the kick drum triggers the compressor sidechain. Here, we can set up two kinds of sidechains. ![]() The first case is the one in which the kick track compresses the entire track. You can also use the rest of the track to trigger a sidechain on the kick if it is too heavy or hard-hitting and dominates or takes over the rest of the track more than it should. You can set the kick to trigger a sidechain on the entire track if you’re creating club or dance music genres dominated by the kick’s groove. Let’s understand if you should sidechain everything to the kick or not.Ĥ Readings that you may like: Should I Sidechain Everything to The Kick or Not? You can use a sidechain on any effect, whether a compressor, gate, multiband compressor, envelope shaper, etc. A lot of gated instruments or synths are created by sidechaining. However, sidechaining can also be used as an effect. So, for example, snare and vocals are often sidechained, snare and guitar are often sidechained, and so on. Similarly, sidechain compression is often used to prevent any two or more elements from clashing with each other. That prevents the kick and bass from clashing with each other. Simply put, a compressor is applied on the bass track that only acts when the kick occurs. In this scenario, typically, the effect is a compressor, the kick is the source, and the bass is the target. For example, while mixing a track, it’s a common practice to sidechain kick and bass. Sidechaining ensures that the source audio signal triggers the effect plugin on the target audio signal. Secondly, you have to sidechain or route the source to the plugin or the effect on the target signal. So first, you have to set up an effect on the target audio signal, which gets triggered when the source signal occurs. It’s important to notice that there are two signals involved, the one which is the source and which triggers the sidechain effect, and the other which is the target. ![]() The idea is to have the music loop turn down in volume every time Carlo’s voice comes through.This article will discuss if you should sidechain everything to the kick track or vice-versa.įirstly, let’s understand sidechaining. ![]() You’ll notice right away that there’s a Sidechain button on the plugin interface which you can turn on and then select a track to sidechain-in this case, the VO.įrom here it’s a matter of setting the compressor to taste. The first step is to grab Studio One’s compressor and drag it onto the loop track. Carlo’s example shows how you can “duck” a music loop to make room for a voiceover. It’s a very simple way of setting up one track to trigger compression on a different track. Sidechain compression is a technique you’ll hear about all the time. In between production responsibilities he conducts online training seminars, collaborative production meetings, software demonstrations, and video tutorials.Ĭarlo is Pro Mix Academy’s resident Studio One expert, too! This quick tip shows how to set up and apply sidechain compression. He’s also an audio production engineer with twenty years’ experience, and performs trainings, demonstrations, and services for top studios and institutions across the country. Carlo Libertini is a Melodyne audio editing specialist with Music Marketing Inc.
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