Fig. 1
You may have also heard this technique in EDM-based music when a synth-bass line pumps (dips and swells in volume) in between each beat of the kick drum. This is what happens when the kick drum is bus-routed into a compressor on the synth-bass track.
Keeping this guitar-centric, sidechain compression can be valuable for many reasons that range from keeping your solo on top of rhythm parts to adding crazy textures to your power chords. You’ll need a compressor plug-in that accepts a side-chain input, and there are many to choose from. I’m going to use Fab Filter’s Pro-C 2 ($179 street), but another great choice is Waves’ Renaissance Compressor ($29.99 street).
Let’s get started. First, create two tracks in your DAW: one virtual instrument track (the source) loaded with a drum kit, and one audio track (the destination) where you will soon record a cool chord progression with held chords (clean or distorted).
You may have also heard this technique in EDM-based music when a synth-bass line pumps (dips and swells in volume) in between each beat of the kick drum.
On the instrument track, create a nice drum-kit groove (try something funky or even prog metal). Then, mute all the other parts of your virtual kit except the kick drum (for now) and hit record. Next, record yourself playing that cool chord progression with held chords on the audio track you created. (Play along to an unmuted version of your drum kit groove if you need it to record your guitar part.) Now, insert a compressor capable of sidechaining on this track’s effect insert [Fig.1].
At this point you should have: a kick drum loop on the instrument track and a chord progression recorded on the audio track. The compressor will be on the guitar track only.
Now, the fun begins. We are going to route the output of the drum track to the compressor’s input on the guitar track. Thus, every time the kit drum hits, it will trigger gain reduction on the guitar track.
These days I find myself tracking and mixing in at least two different DAWs, and every DAW has slightly different ways to do sidechain compression. This time, I’m going to use ProTools since it has been around the longest and (like it or not) is what most professional recording studios continue to use. There’s excellent intel for non-Pro Tools users at Fab Filter’s website support page, with directions for Studio One, Logic, Cubase, and Ableton.
Fig. 2
In Pro Tools, open the FabFilter Pro-C 2 that you’ve placed on your guitar track earlier. Click the sidechain window button at the bottom [Fig.2] and set sidechain from internal (In) to external (Ext).
Fig. 3
Now select the triangle next to MIDI Learn and make sure Enable MIDI is deselected [Fig.3].
Fig. 4
Next, in the key input menu of the plug-in interface, which is just above the FabFilter logo [Fig.4], choose Bus 1 instead of the default no key input. The compressor is now looking for an external source to trigger compression.
Fig. 5
Now, let’s bus-route the drum track to the guitar track’s compressor. In the sends slot of the drum track, select Bus 1. The bus view window for Bus 1will pop up: set its level to 0.0 dB (so it will send audio signal to the compressor) and select ‘PRE’ (pre-fader) [Fig. 5]. You’ve now routed the audio (using Bus 1) from the drum track to the compressor’s side chain input on the guitar track.
If you mute the drum track, you’ll be able to hear how it is affecting the guitar track. Now you can play with the threshold, attack, ratio, and release. Start with a quick attack (.010-.025 ms), a low threshold, and a fast release time (75-200 ms), then adjust to taste. The right release time depends upon the tempo of the song. Ideally, you want the compressor to be fully reset before the next kick drum hit.
Now that you understand sidechaining, you can experiment with other effects like sidechainable gates, EQs, and delays. More on that next time. Until then, keep experimenting! Namaste.
Fig. 1
Regardless of musical genre, I’m often asked, “How do I make my mixes better?” I usually respond with “it depends.” Mixing isn’t math, there is no theorem or equation that will give you a precise approach. It’s about emotion. Your job when you’re mixing is to bring final focus and attention to fluid, emotional moments by guiding the listener on a highly curated journey. How can we even begin to approach this abstract goal? Tighten up your belts, the Dojo is now open.
Let’s assume you already have an intimate knowledge of what the vision is for the song or album. This is a crucial step! It’s one that I spend a great deal of time developing. I passionately feel that artists and bands deserve a mixer who is completely committed to their vision, and can add deep, meaningful contributions to their recordings while still being an objective voice that can bring an extra bit of magic to the project. Don’t start mixing until you’ve done your homework and really understand the profound level of sacrifice that artists go through to make their music. You should feel the honor and responsibility that is involved as well.
Your job when you’re mixing is to bring final focus and attention to fluid, emotional moments by guiding the listener on a highly curated journey.
Now here are those three secrets for better mixes:
1. Who’s on Bottom?
My main goal is to get to the emotional core of the song as soon as possible. On first listen, I’m not worried about “is the hi hat too loud?” I bring the faders up to unity, as seen in Fig. 1, and just listen.
On the next listen, I get basic levels and determine which instruments are important in which sections. Quickly, I address the genre and determine “who’s on bottom.” There are usually two choices: bass (or synths or low-tuned, 8-string guitars) or the kick drum. Musical genres have certain expectations. For example, hip-hop and rap typically reserve the bottom end of the frequency spectrum for kicks and tuned 808 tones, while heavy rock usually wants the guitars in the bottom with just the attack of the kick drum above for articulation. Your understanding of this and the artist’s tolerance for how far they’re willing to push these expectations will help you decide. This doesn’t mean the values can’t switch based on certain sections of the song. I do this quite a bit, but overall, there should a clear winner and a clear approach.
2. Less Is More
Fig. 2
When using EQ, employ it to cut problem frequencies. Far too often, folks boost frequencies of what they want to hear rather than going in and notching out problem areas. That results in everything getting louder and the problem areas don’t go away. Does the kick drum have a ring to it? Go find that frequency by sweeping a gained-up, narrow Q point across the frequency spectrum [Fig. 2] until you find the ring—and then cut it!
Fig. 3
The same can be done for shrill guitars, bass-heavy percussion, muddy keys, and particular notes of the vocal that really jump out and sound strident. Remember to boost with a narrow Q, sweep, isolate, and cut [Fig. 3].
3. Beware the Buzz Cut
Don’t overdo compression. Most of the time when I use compression, I’m getting anywhere from 2 to 10 dB of gain reduction. Anything over that, and I need to have a valid reason why (squashing a drum kit, pinning a background vocal or synth, etc.). Try to preserve as much dynamic range in your mix as possible and your audience will be able to climb in the mix more, and their ears won’t be fatigued.
Fig. 4
Take a look at a classic 2000s loudness war mix in Fig. 4. See how the music has a “buzz cut?” There’s hardly any dynamic range. Everything is loud!
Fig. 5
Now look at Fig. 5. This a classic heavy metal song, and look the dynamic range.
FYI, Apple Music, Spotify, and others are really rewarding mixes with greater dynamic range, and if their algorithms determine your mix sports a buzz cut, they will lower your loudness level anyway, thus foiling your dastardly plan to win the louder-is-better contest.
Blessings and, until next time, namaste.