#Sidechain compression logic pro how to
#Sidechain compression logic pro plus
#Sidechain compression logic pro tv

So in this case we’ll slightly reduce the volume of the bass when the kick drum occurs. It’s just that you can’t really make both of those instruments out at the same time since they share the same frequency range. It’s not that we want the listener to focus on the kick. But what about trying to find the perfect balance between a kick drum and a bass line? Obviously, if we have a mic on a studio audience, we don’t want their cheering and clapping to be too loud when the host is trying to talk. This doesn’t only apply to vocals and vocal compression. It’s about making sure other tracks aren’t getting in the way. So obviously this is mainly about making sure the sound that should be getting most of the attention can be heard by the listener with the most clarity possible.

#Sidechain compression logic pro how to

We also have some great tips on how to use reverb masterfully, if you’re interested. This way, we can regain clarity automatically without managing it manually on an automation track to dip the volume. So in this way we can basically direct the compressor to reduce the volume of the reverb itself when the vocal track starts playing. For instance, maybe we have a rich, lush reverb ringing out behind the vocals, but it’s getting in the way of and reducing the clarity and intelligibility of the vocals. These are a few examples of why and when we’d use this method.

Punching through a reverb or ambient pad.

Forcing the bass to drop in volume when the kick drum occurs.

#Sidechain compression logic pro tv

Making ambient and crowd mics duck behind the speakers (live TV events, etc.).Making the music duck behind dialogue (e.g., Broadway recordings, live DJ setups).I want to list out a few uses for sidechaining compression so you can start to get an idea why we do this in the first place: If it’s not making sense yet, it will in a second. In the majority of cases it’s about gaining clarity in the mix.

See the image below for a diagram on how it works. We are making the compressor take its directions from a different track. In the case of sidechaining compression, we want it to compress the track it’s applied to, but we want to trigger it when a different sound surpasses the threshold. It’s a self-contained, intelligent volume control so you don’t have to ride the fader on the mixer. When we normally use a compressor we apply it to a track on the multitrack mixer set the threshold, attack, and release and then let it be triggered by the amplitude of the track it’s placed on. Let me say that in normal people terms (and for beginners, check out our What is a Studio Compressor? article). Sidechain compression is a method of using a dynamic range compressor to manage the variance in amplitude of an instrument or recording track, like usual, except this time it’s being triggered by a different instrument or track. Remember, mixing is an art and a science, and you could be the one to discover new ways to use this advanced method.

#Sidechain compression logic pro plus

I’m going to explain everything I’ve mentioned thus far plus toss out some applications to get you thinking. It’s not hard to understand or set up, though we all need that first set of instructions, otherwise it’s nearly impossible to figure out. Sometimes there’s only so much you can do with equalization.Īnd that’s where the concept of sidechaining comes in. If you’re a long-time follower of LedgerNote, you know I’ve written a ton about mixing tricks of the trade to help you get better clarity, especially in the bottom-end of your mix.