The Side Chain section is sometimes referred to as the key input, and is the signal that feeds the detection circuit of the compressor. When compressing a drum loop we can control how much compression is added to the kick or snare by applying filtering to the Side Chain section in order to spotlight a particular drum. In the right situation this can be a really useful mixing technique. You will probably find a position around the 10 percent mark that adds extra sustain to the drums yet still preserves the initial character. Next, go to the Mix control and turn it fully to the left so you are just listening to the dry input signal, then with the drum loop playing, slowly move the Mix control towards the right (Audio Example 4). Now add a touch of distortion as described previously. Using the same preset as before, tweak it to add an extreme amount of compression by raising the ratio control to 20:1 and lowering the threshold. Parallel UniverseĪnother technique that is really easy to experiment with is parallel compression. Here, I am using the graph display to give me visual feedback on how much gain reduction is applied to each drum hit, and the side–chain filter’s Listen function to audition the filtering. Screen 2: The side–chain section of the compressor is used to filter the kick drum so that it triggers less gain reduction than the snare. To get a gentle break-up effect on the drum loop I settled on the Soft Distortion model and a make–up gain of 10dB which adds a subtle distortion effect (Audio Example 3). While you are applying the distortion try switching through the different algorithms to give yourself an idea of their tonal qualities. As you raise the make-up gain notice that it drives the distortion circuit harder. To increase the amount of distortion first drop the output gain to -20dB to give you some headroom, now raise the make–up gain knob to +20dB. Logic’s Compressor has a built in Distortion parameter with four states - Off, Soft, Hard and Clip - that dictate the type of distortion. Adjust the threshold until you are applying around 10dB of compression (Audio Example 2). The preset uses the new Classic VCA compressor model which is a heavy nod to the dbx 160 hardware compressor (note the lack of attack and release controls). Go to the Compressor’s preset menu and load Drums/Classic Drums. Let’s use the new Classic VCA compressor model to add punch and additional body to our drums. Double click on it to bring up the plug-in’s GUI. Click on this to open an instance of Logic’s Compressor plug-in in the first available insert slot. You will see a gain–reduction meter at the top of the channel strip underneath the Settings box.
#Sidechain compression logic pro how to
I have created mine (Audio Example 1) with virtual–drum plug-in Addictive Drums (see the ‘Audio Examples’ box for info on how to listen). We will begin by looking at compressing drums. Firstly, the Compressor’s GUI has been updated with a new scalable, Retina-ready interface that improves the overall ergonomics, and the compressor models that are being emulated are more clearly themed. In this article we are going to explore some of the workflow and feature enhancements that have been made to Logic’s Compressor plug-in. The Compressor plug-in got a new interface in Logic Pro’s 10.1 update, and there’s more to it than meets the eye. Here, I am using the make-up gain parameter to drive the Distortion section. Screen 1: The new Classic VCA compressor model.
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