![]() 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. Here’s a video of how to set up sidechain compression in Pro Tools using its Compressor/Limiter Dyn 3 plug-in.Carlo Libertini is a Melodyne audio editing specialist with Music Marketing Inc. For example, a high Ratio with lots of gain reduction. And, you’ll want to set the compressor’s parameters for heavy compression to achieve the most dramatic effect possible. Often, you’ll use a bus to send signal to the compressor’s sidechain input. You want to send an audio signal to the compressor’s sidechain input, and you may need to enable this input function. While setting up a keyed compressor will vary a bit from one DAW program to the next, the basic operating concept is always the same. For example, Pro Tools has its Compressor/Limiter Dyn 3 plug-in, Logic has its Compressor plug-in, and Record features the MClass Compressor. Most professional DAW programs feature at least one compressor that has a sidechain input. In Reason, it’s a snap to set this up using Redrum’s step sequencer to loop a four-on-the-floor pattern, and then send Redrum’s audio directly to an MClass Compressor’s Sidechain Input. Then, use this signal as the audio that keys the bass compression, but don’t send this audio to your main mix. To accomplish this, set up a MIDI track that plays a drum sound (such as a kick drum sample) playing only quarter notes. For example, if your kick drum pattern isn’t four-on-the-floor (all quarter notes), but you still want the bass line to have that pumping four-on-the-floor feel. You can also set up sidechain compression using a key sound that won’t be heard in your actual mix. ![]() It’s a great effect that sounds like the bass line is breathing with the kick drum. This is how you create that ubiquitous pumping bass sound heard in dance music, where each time the kick plays the bass is automatically ducked so that the kick drum isn’t drowned out by the bass tone. The compressor is inserted on the bass channel, but the kick drum keys the bass compression. For example, you could set up a bass line to be compressed each time the kick drum plays. Sidechain compression works by using another sound to trigger, or key, a compressor rather than the signal on which the compressor itself is inserted. TAKE A BERKLEE ONLINE COURSE WITH ERIK HAWK! What is sidechain compression? Today, it’s widely used in dance music to create that “pumping” sound in the mix. Each time the announcer would speak the music’s volume would be automatically lowered. Originally, it was used to duck music behind an announcer’s voice on the radio. Sidechain compression is a wonderful production trick.
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