Don’t use it ‘just because’ – that approach never works.Īdditionally, when you do use it, don’t apply it the same on every instrument necessarily. My recommendation? Use it only as a problem-solving tool, or as a creative tool. Ducking might create strange volume movements that actually separate your mix apart rather than glue it together. If you’re trying to go for a natural mix, sidechain compression might actually lead you astray. 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. While it’s a lovely effect, it can easily fall prey to shiny object syndrome, much like regular compression has over the years. Using similar settings to the vocal-instrument sidechain setup, we can get a gentle ducking to clean up the mix: An Important NoteĪfter the above example, you may be tempted to use sidechain compression on everything. However, I want to keep the effect and that level when the vocal isn’t present. The reverb is quite powerful and is a little too noticable with the vocal present in the mix. If you set up reverb or delay on a send, you can carve out space on them by using sidechain from the desired element. Instrument-Effect Sidechain CompressionĮffects like reverb and delay can chew up a lot of space in the mix.īut sometimes you want the effect without it overpowering other important elements like synths, pianos, guitars or vocals. However, with sidechain compression, the compressor isn’t listening to the incoming audio. This achieves a more even, controlled sound. With normal compression, when the signal gets too loud it’s turned down. ![]() In the realm of mixing, sidechain compression is similar to normal compression, but with a twist. ![]() ![]()
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