Mixing Tips Part 2 - Side-Chain Compression
Mixing tips part 2 - Topic: Side-Chain and its applications
There are many ways to use side chaining. In addition to the already known techniques, we show a few more examples of what the Side chain compression can still be good.
Just in EDMArea, the pumping effect of a side-chain process has become very modern again. Other terms by which the process is known include New York Compression or Upward compression. Let us now first come to the three most popular possible uses.
Use in the bass range
With music styles that have their origins “In the Box”, you can create very dynamic and prominent basses by using side-chain compression. Here, the bass signal is told (with the help of the threshold), “from this loudness / dynamic value” (depending on whether you compress to RMS or peak) the bass signal should be compressed and thus its dynamics restricted. This is often used in EDM for the interplay of kick and bassline. The kick is sent as an SC signal to lower the bass line whenever the kick is heard. This way the kick retains its punch and doesn't get lost in the bassline.
Use as a DeEsser
Everyone knows this useful tool. But what if there is no DeEsser at hand? Duplicate your vocal track and do NOT route it to any output. This track serves as a "signal generator" for your self-made DeEsser. Now, in addition to the compressor, you switch an EQ into the audible vocal track and set it so that it works in the range between approx. 7-9 kHz. A ratio of 1: 3 is recommended for the compressor. The remaining parameters are a matter of taste and should be adjusted by ear.
Separate or lift passages from one another
Another possibility to use side-chain is to tell the Singal at certain passages that the other Singal should withdraw. With the help of the threshold control, which should be set to (RMS), you tell the compressor that it should only start working from a certain dynamic value. This is particularly helpful with instruments that are in the same frequency response, such as piano and guitar. With the help of automation, the entire signal paths of a chorus can be provided with more "power" and sections of it can be compressed differently in order to create space for other instruments or to bring other instruments to the fore at certain points.
I constructed a 3-way nesting as sidechaining. I did this because, on the one hand, I am playing the kick drum Mix wanted to get through better and on the other hand to construct a light “pump effect” between sinus bass and synth bass in order to create a little more variety within the drum set.
I did this nesting as follows:
Kick drum as a signal generator
Here you can see that the kick serves as a signal generator for the synth bass and the sine bass. I switched the signal level from post-fader to pre-fader. This means that the output signal of the kick is tapped before the volume fader.
Sinus bass as a signal generator
Here the sine bass serves as a signal generator for the parallel compressed synth bass.
Side chain compressor settings
Here you can see the associated settings for the 3 side chain compressors.
The settings used here can of course be varied freely, because the following also applies here:
Good is what sounds good and pleases.
So it is also possible to "side-chain" effect channels. This is particularly interesting with reverb and delay. So you could use a delay signal as a signal generator for a reverb. If you combine this with an attacker on the reverb channel, you can easily conjure up very crazy effects. There are no limits to creativity here. Have fun with Mixing and mastering.