How to Use Track Stacks and Sidechain Compression in Logic Pro – Loop Community Blog

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How To Use Sidechain Compression in Logic Pro X | Decibel Peak

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Make that bus the key or sidechain input on a compressor that is on the lead guitar track.


Sidechain compressor logic pro x free


The most common way to use sidechain compression is on the bass, with the sidechain input set to the kick drum. This is because the kick and bass occupy similar frequency ranges, and by default, there are clashes in the bass range. This is genre-dependant, as some genres will have lower bass and higher kick drums, and vise-versa.

The kick and bass playing together create a strange clashing effect, and the kick drum is nearly dwarfed by the bass. To avoid this, we can add in some sidechain compression. Now the kick cuts through loud and clear, and the bass is still front and centre where it needs to be. Not to mention, when the effect is exaggerated, you get a cool sucking effect, which is prominent in subgenres like big room house, future bass and trap. At this point, it stops being simply a mixing effect and is more of a creative effect.

Not every genre will call for instruments to be side-chained to the snare. However, in genres like dubstep or hip-hop where the snare can be quite chunky in the low end, this is a handy tool. Sidechain compression is already being applied to the bass and keys from the kick:. This sounds great already, but to carry this groove we can apply a subtler sidechain from the kick drum too. The effect allows the snare transient to pop through, and also moves the mix in an interesting way.

But in dense mixes with a lot of midrange synths, pianos and pads , even clean vocals can get a little lost. Applying some gentle sidechain could allow that vocal to remain consistent throughout this section.

This will allow the compressor to sound natural. But sometimes you want the effect without it overpowering other important elements like synths, pianos, guitars or vocals. If you set up reverb or delay on a send, you can carve out space on them by using sidechain from the desired element.

The reverb is quite powerful and is a little too noticable with the vocal present in the mix. Using similar settings to the vocal-instrument sidechain setup, we can get a gentle ducking to clean up the mix:. It seems novel due to the exciting sound it has, but sometimes the best thing you can do for your mix is to avoid using sidechain compression. Ducking might create strange volume movements that actually separate your mix apart rather than glue it together.

My recommendation? Use it only as a problem-solving tool, or as a creative tool. There is merit to allowing some instruments to breathe while others receive a bit of ducking. It would listen to a narrow frequency band of the vocal, and turn down the original vocal when that band got too loud. Since then, sidechain compression has evolved a lot , and with digital plugins, we can get a lot more nuanced and controlled.

ShaperBox 2 is an amazing modulation tool in general, so confining it just to sidechain compression is a bit of an insult. That being said, it is very versatile for this kind of application. Not only can you use the VolumeShaper module to add volume ducking, but you can draw in your own shapes for different frequency bands. This means you could apply sidechain to just the low-end of a certain sound from the kick, and draw the shape perfectly to the style of the kick.

Find Out More at Cableguys. You can shape the volume, filter and other parameters by drawing in the curve, selecting the timeframe and tweaking to your desire. Find Out More at Xferrecords. You can also change the amount of volume automation, as well as select from a bunch of great preset shapes.

Find Out More at Kickstart-plugin. Similar to Kickstart, you just want simple 4-on-the-floor sidechain ducking, then OneKnob Pumper is the plugin for you. No-fuss whatsoever. Find Out More at Waves. For example, if you use Trackspacer on a piano pad with the sidechain input as a midrange-y vocal, it will duck out just the mids on the piano pad. Super neat. You can also filter which frequencies are going to get ducked with the low-cut and high-cut knobs, so you can zero-in on the parts of the sound that really need to get out of the way, leaving the rest intact.

Find Out More at Wavesfactory. So you can high-pass the low-end out. In one of our upcoming courses , I demonstrate this using a sidechain kick which plays even when the actual kick is not.

This is cool for building energy in sections leading up to the drop, because you hear the pumping but no kick. Multiband compression combines two of the best tools into one: compression and EQ.

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