How many of you 'sidechain' ?

Wow, some heated debate flying around about some rather basic concepts here !

I guess as I started this thread off, I'll just add this :

Sidechain compression is a wonderful production trick. Originally, it was used to duck music behind an announcer’s voice on the radio. Each time the announcer would speak the music’s volume would be automatically lowered. Today, it’s widely used in dance music to create that “pumping” sound in the mix.

Sidechain compression works by using another sound to trigger, or key, a compressor rather than the signal on which the compressor itself is inserted. For example, you could set up a bass line to be compressed each time the kick drum plays. The compressor is inserted on the bass channel, but the kick drum keys the bass compression. This is how you create that ubiquitous pumping bass sound heard in dance music, where each time the kick plays the bass is automatically ducked so that the kick drum isn’t drowned out by the bass tone. It’s a great effect that sounds like the bass line is breathing with the kick drum.

You can also set up sidechain compression using a key sound that won’t be heard in your actual mix. For example, if your kick drum pattern isn’t four-on-the-floor (all quarter notes), but you still want the bass line to have that pumping four-on-the-floor feel. To accomplish this, set up a MIDI track that plays a drum sound (such as a kick drum sample) playing only quarter notes. Then, use this signal as the audio that keys the bass compression, but don’t send this audio to your main mix.

I also started out using nothing other than hardware and this remained the case for some 25 years until computers came along and changed the playing field with software ! I think I know a fair amount about the topic, although I don't profess to have encyclapedic knowledge of everything to do with the subject !!

Gosh, and to think I was about to venture into the realms of 'Parrallel Compression' ? Seconds thoughts, better not

Thanks to all who contributed.

inthemix wrote:Wow, some heated debate flying around about some rather basic concepts here !

Indeed.

inthemix wrote:Gosh, and to think I was about to venture into the realms of 'Parrallel Compression' ? Seconds thoughts, better not

Do it!
I use parallel compression all the time. I also play with expansion and compression on different buses on my A&H GS3.

Yes, using parallel compression with side chaining together can give interesting results, maybe lethal They are both simple techniques IMO.

I was just thinking, there should be a side-chaining group type of feature. Works like mute groups but instead of cutting off the prior sound, it actually lowers the volume of a pad to 10 or 15 to create that pump.

Ill-Green wrote:Yes, using parallel compression with side chaining together can give interesting results, maybe lethal They are both simple techniques IMO.

I was just thinking, there should be a side-chaining group type of feature. Works like mute groups but instead of cutting off the prior sound, it actually lowers the volume of a pad to 10 or 15 to create that pump.

Huh, wonder if that would be possible/feasible to implement. Doesn't seem like it should be too difficult.

Though, what would it do after the initial volume lowering? Would it have a adjustable attack and decay times, and so basically just be a volume envelope that could be triggered mid-note on other pads by the "sidechain" pad?