To read the full article see: Sidechain Compression
Sidechaining has been around for years; this is the process of using one signal to control another. A couple classic examples are using a kick drum to gate a bass part, or doing de-essing – isolating the high sibilant frequencies from a vocal, and using those to trigger compression so that the sibilants come down in volume.
But in the digital age, we can do a lot more with sidechaining. One of the most popular applications is with dance music, where sidechaining can create the “heavy pumping” electronica drum sound used by artists like Eric Prydz and others.
We’ll describe how to do this with Cakewalk Sonar, although the same principle applies to other programs that allow for sidechaining. Sonar allows sidechaining for several effects, including compression, so that one instrument can control the compression characteristics of another instrument. This offers a variety of effects, including a “pumping” drum sound for multitracked drum parts; we’ll do that by setting up the snare to control compression for all drum tracks.
Fig. 1: You’ll need a drum submix bus to create an overall drum sound.
The first step is to create a drum submix bus, and send the drum tracks to it (Fig. 1). We need this submix so the entire drum track can be processed by the sidechained compressor. To create the submix bus, right-click in an empty space in the bus pane and select “Insert Stereo Bus.” To create a send in track view, right-click in a blank space in the track title bar and select “Insert Send.” From the menu that appears, select the send destination. Make sure you feed the bus pre-fader, and turn the individual drum channel faders down so that only the bus contributes the drum sound to the master.
Fig. 2: Assign the Drum Submix out to your main stereo output.
Let’s take a closer look…
Create a second pre-fader send in the snare track, and assign its out to the bus feeding the sidechain input.
Fig. 7: We’re almost there – it’s time to adjust the compressor.
To adjust the compressor, start with the compression attack time set to 0 ms; the drum sound will essentially disappear when the snare hits because the gain is being reduced so much. Gradually increase the attack time to let through more of the initial snare hit, and add a fair amount of release (250-500 ms) to increase the apparent amount of pumping.
And there you have it – the pumping drum sound. May it go over well on the dance floor!