Only clicked as I noticed you're representing with the old but gold Digidesign SMACK! That is one of my favourite of the older Pro Tools only compressor plug-ins which I still love and use often. I've never had any problems when it comes to making use of external sidechain inputs/keying inputs as I started on tape with outboard, therefore in order to get the most out of what one had to work with, every option was explored and exploited to the nth degree. I'll never forget getting my hands on a very nicely priced, used Valley people dynamite, that device which I still have and would never get rid of as it is as sentimental now to me as it is just a damned swiss army knife of VCA based dynamics manipulation. Nowadays it is just mind-boggling what can be done/achieved via plug-ins that feature a sidechain input, the multi-band options which allow for utilizing a different filter/EQ on each band for example is something that'd take aeons to attempt to replicate using outboard. Cheers Justin fella, all the best and the same to all. Dean
I have a nice method regarding sidechain while mastering / mixing that might interest pepole here to try , when mastering squashed mixes or squashed music like some EDM genres or hip hop or metal , before the clipper and/or limiter , put a multiband compressor / expander , like the pro-mb by Fabfilter . set one band to the low frequncies as an expander and set it in sidechain to get triggered by your main bass element/main kick drum or short sine wave ghost triger (which allows much more control of the attack and relaease in the band settings) that appears when your main bass element is playing , after that set a band on the high end as a compressor and compress to your taste/refrence and add make up gain relative to your compression and set that also in sidechain to the same triger. By doing that you can create a musical movement effect and balance the dynamic relationship between low end and high end and let the low end more room to breathe before it get squashed by the limiter
@@conanliquid yeah I learned that from him as well , I just evolved it to my needs with the sine wav file as a trigger because you can synthesize it to your own ADSR needs and have so much more control on how the sidechain will react
Side chain a delay or reverb using the vocal as the trigger. I’m not a huge fan of the kick causing a complete mix to pump which seems to be popular at the moment. Great information, thanks for sharing. mvh
Amazing and inspiring as always! I like to sidechain using MSpectralDynamics from Melda Production, sometimes in mid side to let the vocals live in front of a wall of synths!
I've noticed when I side chain to a compressor, the signal I'm sending to the side chain seems to bleed through into that channel, any idea why this is/how to avoid?
Depends on what DAW you're using, but if you're sending a signal to a specific bus and pluging that bus in the sidechain input, there shouldn't be any of that signal in the track you're having your compressor loaded in
@@caspercayrol1415 It happens when I send normal channel straight to the side chain input of a plugin, maybe I should create a send to do it and check the send is effectively muted everywhere else. Daw is reaper btw but also have studio one and happens in there too, so must just be the way I have been routing them direct from the channel to vst
First time using this new mic. It's a little brighter than the others (on purpose) and I could have spent a few minutes treating it differently instead of just slapping on the same treatment from the prior episode 'cause I was in a rush :-) It sounds nice though, and the next episode has less sibilance thanks to a faster attack time on the compressor. Didn't hold this episode back though. Most popular one in a few weeks. So go figure! -Justin
Who said the voice has to be the only sound on a PodCast😉
Thanks for a great content!
Only clicked as I noticed you're representing with the old but gold Digidesign SMACK!
That is one of my favourite of the older Pro Tools only compressor plug-ins which I still love and use often.
I've never had any problems when it comes to making use of external sidechain inputs/keying inputs as I started on tape with outboard, therefore in order to get the most out of what one had to work with, every option was explored and exploited to the nth degree. I'll never forget getting my hands on a very nicely priced, used Valley people dynamite, that device which I still have and would never get rid of as it is as sentimental now to me as it is just a damned swiss army knife of VCA based dynamics manipulation.
Nowadays it is just mind-boggling what can be done/achieved via plug-ins that feature a sidechain input, the multi-band options which allow for utilizing a different filter/EQ on each band for example is something that'd take aeons to attempt to replicate using outboard.
Cheers Justin fella, all the best and the same to all.
Dean
Very informative and great style of explaining it. Well done as always Justin C.
Very informative!!! Thanks Justin
I have a nice method regarding sidechain while mastering / mixing that might interest pepole here to try , when mastering squashed mixes or squashed music like some EDM genres or hip hop or metal , before the clipper and/or limiter , put a multiband compressor / expander , like the pro-mb by Fabfilter . set one band to the low frequncies as an expander and set it in sidechain to get triggered by your main bass element/main kick drum or short sine wave ghost triger (which allows much more control of the attack and relaease in the band settings) that appears when your main bass element is playing , after that set a band on the high end as a compressor and compress to your taste/refrence and add make up gain relative to your compression and set that also in sidechain to the same triger.
By doing that you can create a musical movement effect and balance the dynamic relationship between low end and high end and let the low end more room to breathe before it get squashed by the limiter
Yes very useful technique. I learnt it from watching Luca Pretolesi.
@@conanliquid yeah I learned that from him as well , I just evolved it to my needs with the sine wav file as a trigger because you can synthesize it to your own ADSR needs and have so much more control on how the sidechain will react
that's pretty badass man
Great explanation
Good explanation thanks man! I needed that! 🥳
A pleasure! Thanks for stopping by. Hope to see more if you around :-)
-Justin
Side chain a delay or reverb using the vocal as the trigger. I’m not a huge fan of the kick causing a complete mix to pump which seems to be popular at the moment. Great information, thanks for sharing.
mvh
i found this video really helpful! Thanks!
Great info here. Thanks!
That mic does sound GOOD!
Thanks for this great video!
simple question: I have the Kick drum and Bass, where do i add the sidechain, on Kick track or bass track?
You would usually put the compressor on the bass and have it be triggered by he kick. Hope that makes sense!
-Justin
@@SonicScoop wow you actually reacted to my question! Happy face here, i will support you on Patreon!
Amazing and inspiring as always! I like to sidechain using MSpectralDynamics from Melda Production, sometimes in mid side to let the vocals live in front of a wall of synths!
Very informative 👍
Thanks Justin!!!
Thank you😁
Did I miss the link to old video in the DAW?
Found it!
It's here in case anyone else asks :-) ruclips.net/video/iwrRF2SrP3U/видео.html
I'm only wondering what's going on in my own stereo and how to manipulate it
Most stereos don’t add compression :-)
its about dynamic control
I've noticed when I side chain to a compressor, the signal I'm sending to the side chain seems to bleed through into that channel, any idea why this is/how to avoid?
Depends on what DAW you're using, but if you're sending a signal to a specific bus and pluging that bus in the sidechain input, there shouldn't be any of that signal in the track you're having your compressor loaded in
@@caspercayrol1415 It happens when I send normal channel straight to the side chain input of a plugin, maybe I should create a send to do it and check the send is effectively muted everywhere else. Daw is reaper btw but also have studio one and happens in there too, so must just be the way I have been routing them direct from the channel to vst
How to cause compression in your car stereo???
By compressing it in your studio :-)
Can I pay for mixing breakthrough course in installments?
Not yet, but I'd love to start offering that. I'll bring it up with our team. Thanks!
Video begins at 2:32.
Yes it sud be.
Sometimes overdoing things is fun... pause to think about life. :P
❤❤❤
My online University already
Man I can’t find 1 single video of someone showing how to patch the side chain everyone just talks about it 😢
I went ahead and put this in a video just for you. Try 43:38 here :-) ruclips.net/user/live_839WmE6Ahg?feature=share
-Justin
There are some sibilance issues in this video. Still amazing content, though.
First time using this new mic. It's a little brighter than the others (on purpose) and I could have spent a few minutes treating it differently instead of just slapping on the same treatment from the prior episode 'cause I was in a rush :-)
It sounds nice though, and the next episode has less sibilance thanks to a faster attack time on the compressor. Didn't hold this episode back though. Most popular one in a few weeks. So go figure!
-Justin