C1 Compressor Sidechain
Kathy Douds
I cannot work out how to connect this side chain feature to my mixing desk, other than to use a mono audio cable and pull it slightly out of the mixer insert and the FMR side chain input. The slightest nudge and it loses connection, so I want to make a proper lead.
I started out thinking a stereo insert cable (both ends) would work but it sends some of the compressed signal back with it, so if youre using a kick drum for side chaining a stereo keyboard, you can hear the keyboard its compressing in in the kickdrum channel.
The kick gets the side chained keyboard coming back through the insert, or if I push it in all the way the kick cuts out, so I have to pull the lead a little bit out and then the kick can be heard and is being sent to the side chain input.
I know what you mean.
I am confused as well.
Not using the sidechain function (used to on my MIDAS Venice 160 on Master insert with a split cable and was having no issue feeding an aux send - kick - to the sidechain input).
All fairly hard to set well and up how to create the Knee effect I do not know (I think it is probably related to using a compressor and having the Signal Follower tied to Ratio.) Still the vast majority of the time you will not really even have to go to these extremes and simple ducking will suffice, but trying to claim it is a full replacement to being able to route audio freely and the effects offered by plugins is naive at the best.
Yes, this is possible in Logic but a bit of a kludge. There are 3rd party compressors like Pro-C where this is easily done since it both side chains and you can set the top and bottom edges of the frequency zone you want to compress.
The caveat is that any changes you make to the first MB Comp's frequency zone must be done to the second one as well so this can be picky as you find your sweet spot. So if you have a compression zone of 100 Hz to 500 Hz on the first comp, make sure the second one is set the same. The only difference between the two MB comps is that their soloed zones must always be reversed.
Right now I tried to route the end bus via 4 send slots (pre fader) to 4 busses and than split every bus into 4 bands with an eq. But there was a lot of comb filtering going on plus the fact that Logic assigns all these tasks to one CPU core. Wich is a bitch...this system of core sharing in Logic really freaks me out.
EDIT: Note that in this song file I didn't follow my own advice - the Multiband comp that has three soloed bands does not yet have the comps disengaged. So that comp is actually compressing very slightly but you should be able to see the principal at work anyway.
Thank you for that excellent trick @ fader 8 , working with it right now, the only thing is: It doesnt seem to work with PDC set to ALL...But I am working to find out why, if you are allready familiar with this problem let me know...but great work!
I am building an external sidechain compressor for VST, AAX, and RTAS formats. I have the basic functionality of the compressor done, however I'm unsure sure if JUCE provides external sidechains. Does it? If it does how would I go about implementing this?
Chad Carouthers is probably the most out-of-the-box-thinking person in terms of Helix. Check ou his other videos like using the Helix as a synth without any guitar for instance. Just brilliant to show what is possible with the Helix unit.
In terms of side-chaining with the use of an external source (like fx return or alike), there is currently no chance to implement it without an external device (aka a compressor with side chaining capabilities). I would love to have that option as well. Maybe it is worth a shot on Ideascale.
An easy way to test this out is to turn off Helix hardware compatibility in Preferences. Then, use a keyboard's sustain footswitch (controller 64) as a controller to trigger the compressor. My favorite for this application is the Ampeg Opto Comp. Trigger the Compress parameter, with Min Compress at 0.0 and Max Compress at 10.0. Every time you hit the footswitch momentarily, you get the pumping effect. Adjust Release to taste. (If you want to keep hardware compatibility enabled, choose a switch controller other than 64 that Helix doesn't reserve as a global controller.)
I haven't tried triggering from note data, though. Ableton Live can use Max routing to trigger CCs from notes, but I don't know what can be done in Logic. However, MIDI Solutions' hardware Event Processor can map just about any MIDI event to any other MIDI event. You can download the programming software without buying the unit to see what it does. Or just contact the company and ask them if it will convert note data to continuous controllers, they've always been helpful in the past.
Once you map the kick drum note to a continuous switch controller and map the controller to the compressor, you should be good to go. Again, I do this with a footswitch. So, I know that you can achieve that sound, but I haven't gone through the process of converting a MIDI kick drum note to a switch controller.
It just occurred to me...maybe the kick drum pedal could be hooked up to a switch that would duplicate the sustain footswitch function mentioned above. Then you wouldn't need to do any conversion of kick notes to controllers.
The concept of sidechaining can seem complicated at first, but once you master it, sidechain compression will help you achieve better separation and clarity in your mixes. For instance, two or more instruments often compete for attention in the same frequency range, like a kick drum and sub-bass. In this case, we may want the bass sound to dip in level each time the kick plays so that we hear the attack of the kick clearly. The kick drum signal will trigger the compressor on the bass track so the bass dips in level each time the kick hits.
For this technique, I like to use the Waves C6 multi-band compressor, which offers independent sidechain control over each band. This really lets me fine-tune how each frequency range reacts to the pumping effect. I may want the powerful low end to pump while the highs stay consistent, for instance.
You can create a dedicated sidechain trigger signal with a MIDI or audio track. Percussive sounds with short decays, like woodblocks or sidesticks, make good trigger signals for sidechaining. This way, a wide range of attack and release times can be dialed in on the compressor. Remember not to send this trigger signal to your mix bus!
For this effect, set up a reverb send from your lead vocal and insert the reverb plugin on an aux channel in your session. Insert a compressor with a sidechain input after the reverb plug-in on the aux channel. Then, assign the vocal to the sidechain input of your compressor. Your vocal should now be sent to the reverb aux and also the sidechain input of the compressor.
This setup allows the compressor to duck the output level of the reverb whenever the dry vocal is playing and between vocal phrases the compressor releases its grip on the reverb, allowing you to hear the long, lush reverb tail without masking the dry vocal.
Try compressing your mix bus with the sidechain triggered by the kick drum for really deep pumping effects. You can automate the send to the sidechain to exaggerate the pump during certain sections of the song and stop the pumping during other sections.
a gate that reads the detect signal from selectable input, guitar DI. then you can put the block wherever, after reverbs/delays/amp. it opens with the clean DI signal but controlling as much lunacy as you want behind it.
This setup was amazing! I used it with a Mesa Dual Rectifier and it made it dead silent with the guitar volume rolled all the way off, but also allowed me to roll down my guitar volume (on high gain) to clean up my tone without losing the sustain and having the gate cutting in when rolling the guitar volume down.
I used it with a Mesa Dual Rectifier and it made it dead silent with the guitar volume rolled all the way off, but also allowed me to roll down my guitar volume (on high gain) to clean up my tone without losing the sustain and having the gate cutting in when rolling the guitar volume down.
I would like to request this sidechian gate so much.
In current market of noise gate sidechain input is becoming one of basic feature and provide most comfortable playability on high gain setting, especially for djent music.
hi,i am following a cm magazine tutorial.
in it the guy is using the internal sidechain lowcut filter at 70Hz to prevent the subbass triggering the compression too much,
he has this on the mixbuss in presonus studioone
it is the stock compressor in studioone.
cm mag 239.
im wondering how do i do this in cubase 9.5
thanks
In-game if I set the SFX slider to 0 with FMOD live connected, which effectively would be -infinity dB from the SFX VCA in FMOD, the strange thing is that it still seems like the music bus is registering a sidechain input to the bus even though no SFX can be heard?
EDIT: sorry, didn't read your question properly, you want to amplify one signal, inversely proportional to a control signal. I don't think any SC compressors or effects do this out of the box. You could do this in Drambo, if I understand correctly, you need your control signal to be converted to (0dB - its value), so it is "louder" when it's "softer", like a "complement" version. Then just sidechain this "complement" signal to a compressor with regular functioning.
For what it's worth, in general I prefer doing this kind of stuff using volume or filter cutoff automation. Far more versatile, uses less resources. People really only did it with sidechained compressors back in the day because it was easier to do with analog equipment.
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