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Logic pro x compressor sidechain free download |
Logic pro x compressor sidechain free download.Compressor Threshold and Ratio
Now, this channel is ready for sidechain. Feel free to use other settings if you prefer. Depending whether the trigger is an Audio track or Instrument track, will depend on the sub-menu your desired trigger will be under.
Sidechain compression allows your mix to fit together like a puzzle. It carves out the perfect amount of space for each element to fit in. For that reason, there are many different ways you can use sidechain compression in your mix:. 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. The sidechaining process has become a popular and essential tool for many professional mix engineers, but how can we apply the technique in Logic Pro X?
However, while most of us have heard about the concept, things can get confused when it comes to implementing it in your DAW. In this workshop, we take a look at both the practicalities of setting up a sidechain in Logic Pro X, as well as exploring some of the key techniques and approaches used in music production. Sidechaining as a technique that originates from the days of dedicated studio hardware, where a device would have multiple inputs more on this in a bit and engineers had complete flexibility in respect to how they routed a signal around the studio.
As such, this meant there could be a distinction between the signal being processed and the signal being used to drive the signal processor like a compressor. The classic contemporary examples of sidechain would be the aforementioned French-style EDM compression, where a kick drum is fed to the sidechain input of a compressor, while the rest of the mix or a large proportion of it is fed through the main inputs.
The result creates a unique pumping effect, where the presence of the kick attenuates the rest of the track. With both the Noise Gate and AutoFilter plug-ins, this works in close conjunction with a Threshold control. The Gate, for example, is opened and closed in relation to the sidechain hitting a given threshold, whereas the AutoFilter uses the threshold to trigger a pre-programmed ADSR envelope setting. Establishing the sidechain routing is therefore just the beginning, as you need to be clear on how to tweak the plug-in or instrument to hear the effect in action.
One of the key benefits of sidechaining is its ability to make a mix more dynamic and even more importantly, create space in a mix. This probably goes a long way to explain why the effect is so popular in EDM music, where big synths and equally expansive reverbs can eat up the soundstage with just a few instruments. Having understood some of the basics, the walkthrough details several practical examples of sidechaining in action that can hopefully inspire you to think about how you might want to apply the technique in your productions.
This will now route the Kick Drum track through the Sidechain input of the compressor, letting the Kick dictate the compression. The first two parameters to investigate are Threshold and Release. The sidechain works as a form of envelope follower, following the dynamic movement of the input rather than working with audio-rate modulation.
Try using various drum sounds — like a kick or a hi-hat — patched through to the filter. A Threshold setting around dB makes the Noise Gate responsive to the hi-hat. The effect sounds best when it has a graduated Release stage — around ms. You can also create a softer effect by raising the Reduction control to around dB so that the pad pulses rather than being chopped.
The AutoFilter plug-in in Logic also has a sidechain input, but acts a little differently. As with the previous examples, the finesse of setting the effect relates to both the Envelope shape and the Threshold, so the envelope is triggered correctly.
As you can see from the walkthrough, the possibilities of sidechaining are vast, especially when you consider the variety of plug-ins featuring sidechaining and the almost infinite number of sound combinations that can be used with them. Experiment away! To illustrate how creative your approach can be, try activating all three sidechain treatments — Compressor, Gate, and AutoFilter at once.
The result is a hybrid, with elements of each effect in the final output. Sidechaining can be a great way to claw back space in the mix. In this example, start by placing plenty of reverb and delay found on Bus 1 and 2 over the Moog synth lead.
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