When the snare is not playing, your cymbals will be uncompressed. Now, every time the snare drum hits, it will trigger the compressor and duck the snare down in the overheads. Send the bus to a compressor on the overheads. If you record your overheads and you find that you have too much snare sound in them, you can simply set up a bus on the main snare channel. This is another very useful sidechain compressor trick. Video can’t be loaded because JavaScript is disabled: Using Compression: Advanced Techniques – Warren Huart: Produce Like A Pro () Other Sidechain Compression Techniques Duck the Snare in the Overheads Generally, a fast attack will work well for this technique, while the release depends on what you’re trying to achieve. You’ll want to adjust the compressor’s parameters to taste depending on how much you want to duck the bass every time the kick plays. Now, set the key (sidechain) input on the compressor to the Kick Sidechain bus.ĭone correctly, the compressor should be receiving its input signal from the kick drum, while compressing only the bass track. Route the output of the kick track to the input of the Kick Sidechain. In Pro Tools, create a mono aux input, call it something obvious like “Kick Sidechain,” and choose an unused bus as its input. Depending on your DAW, you may have to create an auxiliary bus to do this. Next, you’ll need to set the sidechain input on the compressor.

In this case, you’ll put the compressor on the bass track.

This will depend on what you’re trying to achieve, but for now we’ll stick to the kick drum/bass technique for the sake of simplicity. The next step is to add the compressor the channel you want to compress.

Fl studio side chain