🎹 Do you need professional feedback on your track? Mastering etc? Check out my gigs on Fiverr: www.fiverr.com/firewalk ✔ VST & Effect Plugins: pluginboutique.com/?a_aid=5d496680b59cd ✔ Premium Loops And Sample Packs: www.loopmasters.com/?a_aid=5d496680b59cd -------------------------------------------------------------------------------- ❤ Support this channel on Patreon: www.patreon.com/firewalkmusic ❤ Support us with a one-time PayPal donation: www.paypal.me/firewalkmusic RECOMMENDED STUDIO GEAR: -------------------------------------------------------------------------------- (Amazon links below) AUDIO INTERFACE: Focusrite Scarlett Solo: geni.us/scarlettsolo-3rd-gen Focusrite Scarlett 4i4 (3rd Gen): geni.us/scarlett-4i4 REFERENCE HEADPHONES: AKG 612 PRO: geni.us/akg-k612pro Beyerdynamic DT 990 PRO: geni.us/DT-990-pro REFERENCE MONITORS: 5": Yamaha HS5: geni.us/Yamaha-HS5 7": Adam Audio: geni.us/Adam-Audio-T7V 8": Yamaha HS8: geni.us/Yamaha-HS8 SUBWOOFER: KRK 10S2 V2: geni.us/krk-10s2v2 MICROPHONE: Audio-Technica Cardioid Condenser Studio XLR Microphone: geni.us/at2020microphone Vocal recording booth/stand for microphone: geni.us/microphonebooth
XLR CABLES: TISINO 35 ft Balanced XLR cable for mic: geni.us/xlr3ftoxlr3m Monoprice 6 ft Balanced XLR Cable for monitors: geni.us/monoprice104761 SHORTCUT KEYBOARD: Backlit FL Studio Shortcut Keyboard: geni.us/flstudio-keyboard Get The Complete Idiot's Guide To Music Theory Here: geni.us/idiotsguidemusictheory As an Amazon Associate, we earn from qualifying purchases.
@@FireWalkMusic I figured it out, I was doing something wrong. It’s still not fixing my issue but I believe it’s just the similar frequencies and placement of the notes more than anything. Just subscribed keep up the great work
Hello, thanks for the video its very helpful ive subbed. Quick question: have you heard of flux mini two, it allows you to route a sidechain to a midi pattern like you just explained but I feel like I’m mussing something. Can I just use flux mini 2 and sidechaij everything to carying degrees like you said. What i would do is - I’d load the plugin on the mixer where I want the frequency to duck and simply just use that. I know this is wrong please could you tell me why?
This video has probably helped me 1,000 times I always come back to this one and be like “yeah I knew that” this was the video I watched when I first started engineering 3 years ago thank you
Wow, very interesting. I never knew what that effect was called. Honestly, I never like it when I hear it in songs. That weird volume dip when the beat hits. I can hear the volume drop, so it's like any other standard music effect. Some artists go nuttts with that one, to where it becomes annoying and means to a play stop. Please people, use it responsibly.
Hey I thought you should know, after you rename and recolor something, it is stored in the recent list of renames under the little 'v' down arrow when you're in the renaming tab. It also stores the color used :) Saves an extra couple seconds so you won't have to retype the same thing multiple times!
Thanks for the tip! I usually use shortcuts like that myself, but I always do things the tedious way when recording these videos to make it easier for beginners to follow along 😀
@@FireWalkMusic That's probably why you also chose not to use the Instrument/Audio tracks for this video, I'm guessing. So as not to convolute the purpose of this side chaining tutorial video for inexperienced users. Btw, I recommend your Instrument/Audio tracks tutorial to so many people, since you demonstrate that straight to the point and quicker than most other videos on UA-cam. Definitely one of the elite tutorial creators online.
@@funguy8801 That's exactly right. I want to keep it as on point as possible, so I always focus on one thing at a time, and I always avoid using shortcuts, scroll wheel etc to avoid confusing beginners. It is much easier to follow along when you can see everything I do. :) I used to hit F9 to bring up the mixer, F2 to rename stuff and so on, using shortcuts to link to mixer tracks and so on, but I got lots of comments from confused beginners who couldn't figure out how that happened. So you could say I've learned the hard way. :) The instrument and audio tracks are indeed a great workflow addition to FL Studio that I use constantly myself. It seems few people are aware of it though. It really speed things up. This is one of big differences between FL Studio and other more "linear" daws. In say Logic or Cubase for example, there is always a set workflow, a certain way you're supposed to do something. In FL Studio however there are always many different ways to do just about anything, so you can kind of develop your own workflow for most tasks. That said, there is actually a "preferred" workflow in FL Studio, but few people uses it. The plugin picker for example, where you can drag a VST directly on to a playlist track for example, and then you have them linked, named and good to go. Most people still do it the "old" way. :)
@@FireWalkMusic Yes I completely agree. Keeping things visual and simple is the ideal way to demonstrate features to new users, which are surely the priority when it comes to video tutorials. More experienced users will naturally pick up on many of the shortcuts and more advanced methods themselves as they progress. Probably much like yourself, I like to take advantage of both linear and non-linear workflows as and when best suited for any given situation. I love that flexibility FL Studio offers users, although I can see how the multiple different ways to achieve the same or similar results can be confusing for users of other DAWs' more simplified/linear approach. I'm loving the direction Image-Line is taking the DAW in recently, with their refactoring much of the core legacy code to finally bring about so many much-requested changes and improvements to the DAW. The 20.9 beta and the recent teasers from the staff on the forum give me a lot of optimism for the future development of FL Studio. I believe in a few years time, many of the long-standing complaints (from some quarters) regarding the software may be overcome. Keep up the great work. I recommend your channel to a lot of other users as one of the very best tutorial creators online. Hopefully, there will be many more videos for you to create regarding such improvements to FLS in the near future. :)
I've tried to understand and implement sidechaining in my mixes for a while now but didn't succeed. After watching your tutorial I've been able to do it. It is indeed that simple. My kick and bass are enjoying a sweet relationship now. Thank youuuu💕
This is a great tutorial, the only part I'm confused about is when you cloned your kick, it also cloned the pattern in the piano roll. How???? When I try it it only clones the instrument...
after doing both for 10 years i find volume automation is the most precise as you can really draw the shape of the space better ...and less set up is required.
Hey, FireWalk! Great video as always. I want to share my method of sidechaining, and it has some simple routings. So it goes like this: 1. Imagine we've already established three things; Kick, Sidechain Trigger, and Bass and put it in the mixer track, 1, 2, and 3 respectively. 2. Instead of directly routing from Sidechain Trigger to the thing we want to sidechain, I use 4th dedicated mixer track, let's rename it to "Sidechains". Ususally I will dock it to the right side. 3. After routing "Sidechain to this track" to Sidechains, I routed with "Route to this track only" my instruments that needed to be sidechained to the Sidechains track, so that all output is going through sidechain first before going to master. 4. Then set up the limiter however you like. The plus side is now sidechaining is pretty much instant, just route another instrument there, then it's done. The downside will be the sidechain will be uniform and now the sidechain will be the "last effect".
Thanks for the info! The important thing is that you've found a way that works well for you, and enables you to work effectively. This is much like using send tracks, where you could set up say a long and a short reverb or delay for example, which is great for quickly applying some basic processing to various elements. It will always be the same of course, which again will not be ideal in every situation, but it could be very effective in other situations.
I used to use sidechain compression as my main means of ducking bass from kicks. Now I use a bus for whatever I want to duck and automate the mixer volume envelope of that bus where ever I want. I just place it in the playlist. The automation has the same "wave"-shape as in LFO-tool or kickstart, except now I don't need ghost notes or connect any side chains. It's just so convenient.
And that's why I promote use of hardware and cables. To really find out how techniques work and why you do things that way. This gives you the insight software not always does in my opinion. It's a nice way to learn.
True! :) Knowing how things work is often essential. It enables you to be more creative and come up with solutions you would not have come up with otherwise.
Yep, as always, great video sir! Oldskool sidechain compresson was my thing before I got my hand on LFO Tool. Lately I use the old way less and less, however some nice "ghost" hat to sidechain for melody is always lovely.
Hi, glad you liked it! Indeed. I use LFOtool and such most of the time myself. There are situations where old school compression is a must though, like if you want to sidechain a main melody to make room for a top melody for example, or if you have anything else than a standard beat going on. I actually have a very useful melody sidechain tutorial that I recommend that you check out: ua-cam.com/video/6CJJvO33_lI/v-deo.html
That's exactly the sidechain technique I meat with that "ghost hat". Its definitely a useful technique if you don't want your plucks to interrupt with lead. Great stuff, learnt so much from your videos. Since I started followin' your channel it did made me have better understanding in production, mixing and fl in general
today I learned something else from you! why should i consider different sidechain methods? simple! if i don't have a four to the floor, then i need a processor that adapts to any x signal and doesn't work in a grid like all the other sidechain fully automatic machines! I love to understand more and more! Thanks!
@@FireWalkMusic I had no idea what muddy was until I did what you have shown us, and then muted the sidechain channel. It's so cool. The kick now has it's own clear space in the track with no other interfering sounds.
I wish there was more that I could do for you other than subscribing/liking your content, this was IMMENSELY helpful and soooo easy to follow. Very simple instructions for such a seemingly complicated concept. I think I speak on behalf of everyone learning to make music when I say this, THANK YOU SO MUCH!😁 If anyone is having trouble actually getting it to sound "Sidechained" I noticed I skipped over a couple steps on accident after a re-watch or two. I followed this to the T finally and my track sounds CRAZY good and I haven't even really done anything to it yet! Follow the steps carefully! 🙂
You can switch LFO Tool to midi envelope mode and input the signal through midi notes. With his change it makes side chaining very efficient, at least when it comes to ducking a kick which is easily translated into midi events
You can route LFOT the almost same way you did with the compressor allowing you to retrigger the volume shaper with a midi in (ghost kick ect). This is just the beginning of LFO Tool ngl
oooo, i have become more powerful than ever before. thank you. not sure if it was brought up in your video, but i thought it would be cool to side chain a pad to the trigger channel (which it was), and then add a tape delay (of which i have a...fetish), but it was applying the delay to the sidechain trigger because the pad was connected to the master. so, i just turned the volume down on the trigger channel, problem solved. god i can't wait to use and abuse this.
Great tutorial as usual. Just a quick correction if i may: i use a sidechain plugin called Duck from Devious Machines as it has a MIDI trigger option so it works on beats that are not four to the floor as well. I never used LFO tool but i am almost certain it has such an option as well so you can make it respond to any played notes(e.g. a kick that is not four to the floor). Please correct me if i'm wrong; just trying to help. Keep up the great work. Your tutorials are some of the best.
You are correct. LFOTool can do this method if you use 'Note Retrig', located in the lower left corner of the plugin's GUI, then use a midi out to link to the plugin.
@@k-bit Awesome. I bought Duck because it was alot cheaper but i heard amazing things about the LFO tool. I was almost certain the option would be there, considering it was in a less known sidechain plugin like Duck. All the best to you!
I kinda bounce back and forth between the limiter and using fruity balance actually. I like using fruity balance sometimes because I can have very defined volume control. I'll route my sounds to an insert and put a fruity balance on it, this way I can do things like create unique automation that isn't to sidechain while also sidechaining, like just muting everything at once as a snare hits or something. Also I had a question! How do you get the spectral analyzer at the top to be long like that?
Fruity Peak Controller linked to a click that runs along with the kick. Best control I've found. It also doesn't add a weird crossover artifact that gives feedback to the channels linked to a limiter when a very heavy sound plays, like the sub. I'm not sure how else best to describe it.
@@cody42693 Hi, indeed. I use a few different methods myself. It all depends on the track, the beat and what kind of sound I'm going for. Most of the time I just slap LFO tool on it to get some basic ducking, but for more advanced stuff I usually use the compressor. I actually have a really useful video about how to sidechain a melody to make room for a top melody here: ua-cam.com/video/6CJJvO33_lI/v-deo.html Regarding the spectral analyzer, just right-click anywhere on the empty space in the tool bar up top, and then select "edit". You can then drag to resize it, add extra buttons, rearrange the layout etc. :)
@@SALEENS7GTR5 That works very well too. It all depends on what kind of effect you're going for I suppose. In many situations, a plugin such as kickstart will work just fine. However, in other situations more you'll need a different technique to get a more desirable result, like the compressor, peak controller, or fruity balance for example. They all have their pros and cons :)
for those that use external plugins for compression, FE fabfilter c, this alone wont work. there is an extra step required. after setting the sidechain to this track go to the plugin window, click on the plugin settings and go to processing, there click on automap inputs, go back to the plugin window and click on sidechain and set it to external. without this last step sidechaining wont do anything. it took me years before i figured this out.
People really overcomplicate sidechaining (at least in FL). I been doing this over 10 years and the best way I have found is simply adding a fruity balance on the bus, or each individual track you are sidechaining, create a short automation clip, link all the fruity balances to that automation clip, then just dial it in, copy paste it everywhere you need it. It's so simple and easy and you have more control than with any other method. Plus if you need a different shape on a particular hit you can just make unique or even just extend the automation clip and create a new dip. The key though is using fruity balance. Don't just route any random volume parameter or god forbid the main volume knob on a mixer channel as it has smoothing built in to it.
Indeed, perhaps not the best example in that regard, but I was thinking more about dedicated sidechain plugins in general, which just modulates the volume. LFO tool is actually much more than just your average sidechain plugin. It's extremely useful if you make trap music for example, or want to make some awesome effects. Ther's a lot you can do with it. It's one of my most used plugins actually. :)
@FireWalkMusic thank you, It was a great tutorial. May I ask you what is the track playing in the last 10-15 seconds? is the FLP available (or can use the new stem tool !) fantastic elements in it, mustve listened to that snippet 10x!
Thanks! Glad you found it helpful. It's from a remix i made for a Norwegian artist. It originally had vocals on it, but they decided to go for another one instead so it was scrapped. I've been using it for tutorials instead. 🙂
There's no rule that says you can't do that, but there are many benefits to using a dedicated trigger (so-called "ghost kick") instead. For example: When using a dedicated trigger, you could modify or automate the trigger itself (the kick waveform) and tweak the sidechain that way without affecting the main kick. You can easier enable or disable the sidechaining by removing the trigger itself. For example, let's say you use the main kick as a trigger, but then you'd like to sidechain some sweeps in the breakdown. You wouldn't be able to do that because the kick is not playing at that section. So using a dedicated trigger gives you much more control. Let's say you have a small fill in a transition, and the kick just adds another beat or something, and you'd want the sidechaining to remain normal, then you could use a trigger where the sidechaining acts normally, while the main kick is allowed to do something else. Or what if you wanted to automate the kick, filtering it down during a bridge for example? That would affect the sidechaining as well, making everything sound different, which is not ideal. In that case, a dedicated trigger works much better. Sometimes during a breakdown, you might what to have a few one-shot kicks in there, without having it sidechain everything underneath. If you use the main kick for that you would have to start cloning the main kick instead and using separate versions of it to avoid having it interfere with the sidechaining, and it might become difficult to know what's what, and where. There are tons of scenarios like this that can come up and can complicate things, so I always find it best to just go with a trigger instead. Sometimes you might want a different trigger too if you want a shorter sidechain for example. Some people like to use a shorter kick as their trigger, or even a hat in some situations, to get a very short precise trigger for the sidechain. That's why I always use a dedicated trigger for sidechaining, and I typically always give it a rather bright color, like red, so that It is easy to see. This is useful when mixing a project from stems too, where I'll typically clone the main kick stem, make it unique and then turn it into a dedicated muted sidechain trigger. :)
Quick question to make sure i got this right, the track we're putting the limiter on is what has its volume lowered to allow the secondary track, which doesn't have the limiter and we just linked it to the first track, to "pass" and not be distorted etc? (the thing we're linking the other stuff to, for instance here the bass was the 'origin point' and the kick was linked to it if i understood it right) genuinely unsure how to explain the question more.. like click track A, click the little arrow on Track B to link B to the origin track A, then limiter on A and the effect would be track A being lowered to allow track B to 'pass through' or just be clearer etc?
I usually sidechain the bass directly to the kick, setting the fruity limiter on the bass mixer channel and compressing the signal. Will it give a better result (sound) if I create a side chain channel and trigger it from there ? I never do that. I always prefer the old skool way.
It's basically the same thing. The only reason I recommend using a dedicated trigger is because then you can use that as an on / off trigger for everything that is sidechained to it. If you use your main kick as the trigger too, then you're limited to using sidechain where the kick is actually playing. Another reason is that by using a dedicated trigger, you can then change or process the trigger itself, to help shape the sidechain signal. It all depends on what you need. If your method works for you, then just stick with it. :)
how to do you sidechain house drum loop with kick drum(full drum loop) maybe stupid question, but it is that not working for me the kick is gone when using kickstart or volume shaper
I have a pre existing track that is a little muddy and am trying now to apply sidechain compression for whatever reason when I right click the box to select side chain it doesn't work just comes up with "none" any ideas why or how to resolve?
Really good video and going through what and when to sidechain is a gamechanger for many people. However, is it me or Gross Beat sidechaining does not work properly anymore? Does anyone know if there is a bug with the effect? After 4 beats it seems to stop the sidechain.
That works too. You can also use peak controller etc. There are so many ways to do things in FL Studio thanks to it's moduler nature. Lots of possibilities 😀
Am I supposed to hear the sidechain trigger? I feel like I'm not gonna want to hear it if the whole purpose is to simply duck the volume of the bass right?
I have a question for you ! What are in your opinion the pros/cons of volume ducking VS sidechain compression ? I personally always use the old school volume ducking ways with a peak controller linked to Fruity Mute dry/wet knob. I'm eager to know your opinion on that ! Thanks for the great content !
Quick tip ! Instead of sidechaining to affect the volume of your bass, you can assign it to a high pass inside an EQ. This way you're ducking the low end only and you can keep the texture of your bass unaffected.
@@nur226 you can load a peak controller on the mixer track of your kick, then load a parametric EQ in the bass mixer track. Set a hi-pass in the EQ on the first band, then right click the first band Frequency knob > Link to controller > choose the Peak signal as internal controller. You might need to edit the mapping formula to fine tune your high pass to match your needs! I hope this was clear, let me know if you have any questions!
When sidechaining with an audio trigger, do I still send that audio to the master? Right now I have all my base noises going to the same channel for side chaining and then also to the master, should I mute the route to the master? Thank you!
This is proabably a dumb question, but does the trigger method still work if my kicks are NOT in a pattern channel? Like my kicks are pasted one by one on the DAW
It modulates the volume so the end result is in many ways the same. It resembles the LFO plugins more in that regard, except that you can use it on more advanced beats as well. The main difference is of course the extra settings offered by the compressor itself, so you can tweak the effect more in that regard. Most of the time, just loading the LFO tool or similar plugin will be the easiest and most efficient way to do it, as long as you have a standard four to the floor beat and you don't need to do any special tweaks for any reason, just pure and simple volume ducking. The benefit of using the peak controller though is that you could for example link it to an EQ, in which case you could set it up to sidechain ONLY the low frequencies below 200 Hz for example, which could be hugely efficient. So as you can see, there are pros and cons with the various methods. Check out the link in the video description. I've linked to a video showing how to set that up using peak controller.
(🥭FL STUDIO) *How to make House sidechain in Fruity Love Philter:* • Load up default patch • Turn on HQ envelopes (less clicking) • Turn off oversampling (saves CPU) • Set Filter type to OFF • Enable Tempo on Vol Envelope • Make a bar long LFO curve • Make sure you set the start and endpoints to loop your LFO TIP: If you want to move off-grid, you can always switch off the green magnet button on the bottom-right of the grid.
@@FireWalkMusic what if I EQ'd the sound before and after adding affects? Basically layering the EQ's, I tried it and it sounded pretty close to what I was aiming for (while changing the affects themselves just a bit). But I'm not sure if it would add complications further down the line
You don't "have" to do it, but I strongly recommend doing so for a number of reasons. When you create a separate pattern for the sidechain trigger, you have more control over the sidechain. You can turn the sidechain on and off as you please, independently of the kick. You can't do that if you use the actual kick as the trigger. For example, let's assume you have a breakdown with just some pads, and then you want to have a kick at the beginning of another section, but there's no bass going on, so you don't want the pads and everything else that is sidechained to duck. If you create a separate sidechain pattern, you can just remove the trigger from that region, and the sidechaining will essentially be turned "off" right there. It's a great way to be able to turn on and off all sidechaining. Otherwice you would have to start creating copies of lots of individual elements in your mix, one that is sidechained and one that is not. This is not always needed of course, but I've found that it's good practice to always do so just in case. Just as you should always color and name your mixer tracks etc. You don't have to do that either, but it certainly makes things easier. Particularly when opening an old project. :)
Hi, an alternative option would be to use something like this: geni.us/GND-defender You can plug it into the PC itself, or use one for each monitor. It physically breaks the ground connection, but it's intelligent so it will sense if there's a grounding problem and reconnect it in that case. I know some people tend to cut off the grounding pin, but that's dangerous and could cause fires, and I strongly oppose that. This device basically achieves the same thing, but in a safe way. It costs a little bit more, but it tend to always do the trick. :)
Sidechain is N O T sidechain compression per se (not even when use sidechaining to duck a bassline). This might be valid for beginners or for not really versatile DAW's - but there are DAW's which make side chaining much more useful (like modulate e.g. filter cut off by a sidechained signal). For example some DAW's give much more useful possibilities to duck a bassline... like modulate a volume level directly. LFOtool does NOT sidechain, it simply helps to modulate (a.o. to duck) a signal like a bassline synchronous to a kick. Sidechain per definition (like the word says) means to use a signal not in the conventional signal flow, it is directed ton alternative signal chain, the s i d e c h a i n. That's why LFOtool might work in some aspects similar to a sidechain, but actually is something completely different (as it uses no other sound signal as modulation source - usually)
LFO tool is great. I use it most of the time myself. However, it's not ideal in all situations when it comes to sidechaining, and will only work on standard four to the floor beats. That said, when talking about LFO tool in particular it's much more than just a sidechain plugin. It would be especially useful for people involved in dubstep etc, who want to make complex effects. :) I have another video here showing some more advanced sidechain techniques: ua-cam.com/video/6CJJvO33_lI/v-deo.html
@@FireWalkMusic What are you talking about it only works with 4/4 beats? You can feed it a MIDI note trigger so it activates whenever you want with any beat pattern.
Most people probably use plugins such as lfotool. In FL Studio you can do this in various ways due to the modular nature of fl studio, including peak controller, fruity balance, limiter etc :)
Place kickstart 2 after the reverb to sidechain the reverb too. Place kickstart 2 before the reverb to sidechain only the main sound itself but not the reverb. Add patcher and place the reverb followed by kickstart 2 in order to sidechain only the reverb, but not the main sound. :)
🎹 Do you need professional feedback on your track? Mastering etc? Check out my gigs on Fiverr: www.fiverr.com/firewalk
✔ VST & Effect Plugins:
pluginboutique.com/?a_aid=5d496680b59cd
✔ Premium Loops And Sample Packs:
www.loopmasters.com/?a_aid=5d496680b59cd
--------------------------------------------------------------------------------
❤ Support this channel on Patreon:
www.patreon.com/firewalkmusic
❤ Support us with a one-time PayPal donation:
www.paypal.me/firewalkmusic
RECOMMENDED STUDIO GEAR:
--------------------------------------------------------------------------------
(Amazon links below)
AUDIO INTERFACE:
Focusrite Scarlett Solo: geni.us/scarlettsolo-3rd-gen
Focusrite Scarlett 4i4 (3rd Gen): geni.us/scarlett-4i4
REFERENCE HEADPHONES:
AKG 612 PRO: geni.us/akg-k612pro
Beyerdynamic DT 990 PRO: geni.us/DT-990-pro
REFERENCE MONITORS:
5": Yamaha HS5: geni.us/Yamaha-HS5
7": Adam Audio: geni.us/Adam-Audio-T7V
8": Yamaha HS8: geni.us/Yamaha-HS8
SUBWOOFER:
KRK 10S2 V2: geni.us/krk-10s2v2
MICROPHONE:
Audio-Technica Cardioid Condenser Studio XLR Microphone: geni.us/at2020microphone
Vocal recording booth/stand for microphone: geni.us/microphonebooth
XLR CABLES:
TISINO 35 ft Balanced XLR cable for mic: geni.us/xlr3ftoxlr3m
Monoprice 6 ft Balanced XLR Cable for monitors: geni.us/monoprice104761
SHORTCUT KEYBOARD:
Backlit FL Studio Shortcut Keyboard: geni.us/flstudio-keyboard
Get The Complete Idiot's Guide To Music Theory Here:
geni.us/idiotsguidemusictheory
As an Amazon Associate, we earn from qualifying purchases.
Whenever I follow this it doesn't give me the sidechain trigger when right clicking off of the limiter. I don't get it.
@@ChrisJohnson-dt3ps are you 100% sure you used the "sidechain to this track" in the mixer? It's easy to just change the routing instead.
@@FireWalkMusic I figured it out, I was doing something wrong. It’s still not fixing my issue but I believe it’s just the similar frequencies and placement of the notes more than anything. Just subscribed keep up the great work
Hello, thanks for the video its very helpful ive subbed.
Quick question: have you heard of flux mini two, it allows you to route a sidechain to a midi pattern like you just explained but I feel like I’m mussing something. Can I just use flux mini 2 and sidechaij everything to carying degrees like you said.
What i would do is - I’d load the plugin on the mixer where I want the frequency to duck and simply just use that.
I know this is wrong please could you tell me why?
This video has probably helped me 1,000 times I always come back to this one and be like “yeah I knew that” this was the video I watched when I first started engineering 3 years ago thank you
You're welcome! Glad you still find it helpful! 😀
Wow, very interesting. I never knew what that effect was called. Honestly, I never like it when I hear it in songs. That weird volume dip when the beat hits. I can hear the volume drop, so it's like any other standard music effect. Some artists go nuttts with that one, to where it becomes annoying and means to a play stop. Please people, use it responsibly.
Very much agreed but its the same with anything, distortion is sick till u have 8 bitcrushers on 1 instert
Hey I thought you should know, after you rename and recolor something, it is stored in the recent list of renames under the little 'v' down arrow when you're in the renaming tab. It also stores the color used :)
Saves an extra couple seconds so you won't have to retype the same thing multiple times!
Thanks for the tip! I usually use shortcuts like that myself, but I always do things the tedious way when recording these videos to make it easier for beginners to follow along 😀
@@FireWalkMusic ahh gotcha
@@FireWalkMusic That's probably why you also chose not to use the Instrument/Audio tracks for this video, I'm guessing. So as not to convolute the purpose of this side chaining tutorial video for inexperienced users.
Btw, I recommend your Instrument/Audio tracks tutorial to so many people, since you demonstrate that straight to the point and quicker than most other videos on UA-cam. Definitely one of the elite tutorial creators online.
@@funguy8801 That's exactly right. I want to keep it as on point as possible, so I always focus on one thing at a time, and I always avoid using shortcuts, scroll wheel etc to avoid confusing beginners. It is much easier to follow along when you can see everything I do. :)
I used to hit F9 to bring up the mixer, F2 to rename stuff and so on, using shortcuts to link to mixer tracks and so on, but I got lots of comments from confused beginners who couldn't figure out how that happened. So you could say I've learned the hard way. :)
The instrument and audio tracks are indeed a great workflow addition to FL Studio that I use constantly myself. It seems few people are aware of it though. It really speed things up.
This is one of big differences between FL Studio and other more "linear" daws. In say Logic or Cubase for example, there is always a set workflow, a certain way you're supposed to do something.
In FL Studio however there are always many different ways to do just about anything, so you can kind of develop your own workflow for most tasks. That said, there is actually a "preferred" workflow in FL Studio, but few people uses it.
The plugin picker for example, where you can drag a VST directly on to a playlist track for example, and then you have them linked, named and good to go. Most people still do it the "old" way. :)
@@FireWalkMusic Yes I completely agree. Keeping things visual and simple is the ideal way to demonstrate features to new users, which are surely the priority when it comes to video tutorials.
More experienced users will naturally pick up on many of the shortcuts and more advanced methods themselves as they progress.
Probably much like yourself, I like to take advantage of both linear and non-linear workflows as and when best suited for any given situation. I love that flexibility FL Studio offers users, although I can see how the multiple different ways to achieve the same or similar results can be confusing for users of other DAWs' more simplified/linear approach.
I'm loving the direction Image-Line is taking the DAW in recently, with their refactoring much of the core legacy code to finally bring about so many much-requested changes and improvements to the DAW.
The 20.9 beta and the recent teasers from the staff on the forum give me a lot of optimism for the future development of FL Studio. I believe in a few years time, many of the long-standing complaints (from some quarters) regarding the software may be overcome.
Keep up the great work. I recommend your channel to a lot of other users as one of the very best tutorial creators online. Hopefully, there will be many more videos for you to create regarding such improvements to FLS in the near future. :)
I've tried to understand and implement sidechaining in my mixes for a while now but didn't succeed. After watching your tutorial I've been able to do it. It is indeed that simple. My kick and bass are enjoying a sweet relationship now. Thank youuuu💕
Glad you found it helpful! :)
This is a great tutorial, the only part I'm confused about is when you cloned your kick, it also cloned the pattern in the piano roll. How???? When I try it it only clones the instrument...
Interesting.
Also that info on about compression you put to the side is very helpful.
Thanks, I spent quite some time on that little detail so I was hopping someone would find it helpful. Just sneaking in some extra kniwledge. 🙂
@@FireWalkMusic Thank you, details are so important. We appreciate your effort.
finally a real tutorial about a classic sidechaining, thank you sir
after doing both for 10 years i find volume automation is the most precise as you can really draw the shape of the space better ...and less set up is required.
Fantastic tutorial
Thanks! Glad you found it helpful :)
AWESOME TUTORIAL
Glad you liked it 😀
Ur are the best teacher with u my mix becoming more interesting
I loved the way you explained how to do this process. I will definitely check your channel for more insightful info. Stay blessed. ✌🏾
Hey, FireWalk! Great video as always.
I want to share my method of sidechaining, and it has some simple routings.
So it goes like this:
1. Imagine we've already established three things; Kick, Sidechain Trigger, and Bass and put it in the mixer track, 1, 2, and 3 respectively.
2. Instead of directly routing from Sidechain Trigger to the thing we want to sidechain, I use 4th dedicated mixer track, let's rename it to "Sidechains". Ususally I will dock it to the right side.
3. After routing "Sidechain to this track" to Sidechains, I routed with "Route to this track only" my instruments that needed to be sidechained to the Sidechains track, so that all output is going through sidechain first before going to master.
4. Then set up the limiter however you like.
The plus side is now sidechaining is pretty much instant, just route another instrument there, then it's done.
The downside will be the sidechain will be uniform and now the sidechain will be the "last effect".
Thanks for the info! The important thing is that you've found a way that works well for you, and enables you to work effectively. This is much like using send tracks, where you could set up say a long and a short reverb or delay for example, which is great for quickly applying some basic processing to various elements. It will always be the same of course, which again will not be ideal in every situation, but it could be very effective in other situations.
I used to use sidechain compression as my main means of ducking bass from kicks. Now I use a bus for
whatever I want to duck and automate the mixer volume envelope of that bus where ever I want. I just place it in the playlist.
The automation has the same "wave"-shape as in LFO-tool or kickstart, except now I don't need ghost notes or
connect any side chains.
It's just so convenient.
Amazing video really helped me understand the basics of sidechaining and I learned a lot about, threshold,ratio,gain, attack and release!
Glad you found it helpful 🙂
You can also use effector in transient mode 1/1 , i don’t think people know about this.
Thank for the tutorial 🙏
Great tip! Thanks for sharing 👍 😀
And that's why I promote use of hardware and cables. To really find out how techniques work and why you do things that way. This gives you the insight software not always does in my opinion. It's a nice way to learn.
True! :) Knowing how things work is often essential. It enables you to be more creative and come up with solutions you would not have come up with otherwise.
Yeah the only problem is that it costs like 20 times more than software
Yep, as always, great video sir! Oldskool sidechain compresson was my thing before I got my hand on LFO Tool. Lately I use the old way less and less, however some nice "ghost" hat to sidechain for melody is always lovely.
Hi, glad you liked it! Indeed. I use LFOtool and such most of the time myself. There are situations where old school compression is a must though, like if you want to sidechain a main melody to make room for a top melody for example, or if you have anything else than a standard beat going on.
I actually have a very useful melody sidechain tutorial that I recommend that you check out: ua-cam.com/video/6CJJvO33_lI/v-deo.html
That's exactly the sidechain technique I meat with that "ghost hat". Its definitely a useful technique if you don't want your plucks to interrupt with lead. Great stuff, learnt so much from your videos. Since I started followin' your channel it did made me have better understanding in production, mixing and fl in general
@@adamjozsef4427 great! So glad to hear that! 😀
yeah the only real time I use compression sidechain is to sidechain the reverb
today I learned something else from you! why should i consider different sidechain methods? simple! if i don't have a four to the floor, then i need a processor that adapts to any x signal and doesn't work in a grid like all the other sidechain fully automatic machines!
I love to understand more and more!
Thanks!
Glad you liked it 😀
Nice basic tutorial
Thanks, Trancer! :) Tried to keep it fairly basic and simple so that beginners could follow. :)
Pretty advanced stuff! Thank you!
You're welcome 🙂
Wow you are great. Im gonna try this.
Thanks, glad you found the video helpful 😃
@@FireWalkMusic ur welcome
Automation line works very good.
That works too🙂
very helpful thank you
Thank you for the tutorial. Very helpful.
You're welcome 😊
@@FireWalkMusic I had no idea what muddy was until I did what you have shown us, and then muted the sidechain channel. It's so cool. The kick now has it's own clear space in the track with no other interfering sounds.
I wish there was more that I could do for you other than subscribing/liking your content, this was IMMENSELY helpful and soooo easy to follow. Very simple instructions for such a seemingly complicated concept. I think I speak on behalf of everyone learning to make music when I say this, THANK YOU SO MUCH!😁
If anyone is having trouble actually getting it to sound "Sidechained" I noticed I skipped over a couple steps on accident after a re-watch or two. I followed this to the T finally and my track sounds CRAZY good and I haven't even really done anything to it yet! Follow the steps carefully! 🙂
You can switch LFO Tool to midi envelope mode and input the signal through midi notes. With his change it makes side chaining very efficient, at least when it comes to ducking a kick which is easily translated into midi events
The LFO tool is indeed very versatile and much more than just a sidechain plugin. It's great for dubstep and effects too. :)
Wowww, something new to learn today! Thank you so much! I love your channel!! 🔥
Hi, thanks, glad to hear it! And glad you found the video helpful too! :)
You can route LFOT the almost same way you did with the compressor allowing you to retrigger the volume shaper with a midi in (ghost kick ect). This is just the beginning of LFO Tool ngl
lol
oooo, i have become more powerful than ever before. thank you.
not sure if it was brought up in your video, but i thought it would be cool to side chain a pad to the trigger channel (which it was), and then add a tape delay (of which i have a...fetish), but it was applying the delay to the sidechain trigger because the pad was connected to the master. so, i just turned the volume down on the trigger channel, problem solved.
god i can't wait to use and abuse this.
Glad you found it helpful! :)
Great tutorial as usual.
Just a quick correction if i may: i use a sidechain plugin called Duck from Devious Machines as it has a MIDI trigger option so it works on beats that are not four to the floor as well. I never used LFO tool but i am almost certain it has such an option as well so you can make it respond to any played notes(e.g. a kick that is not four to the floor).
Please correct me if i'm wrong; just trying to help.
Keep up the great work. Your tutorials are some of the best.
You are correct. LFOTool can do this method if you use 'Note Retrig', located in the lower left corner of the plugin's GUI, then use a midi out to link to the plugin.
@@k-bit Awesome.
I bought Duck because it was alot cheaper but i heard amazing things about the LFO tool. I was almost certain the option would be there, considering it was in a less known sidechain plugin like Duck.
All the best to you!
👍 - _also_ for the YT algo! 😊
Thanks :)
What method do YOU typically use for sidechaining?
I kinda bounce back and forth between the limiter and using fruity balance actually.
I like using fruity balance sometimes because I can have very defined volume control. I'll route my sounds to an insert and put a fruity balance on it, this way I can do things like create unique automation that isn't to sidechain while also sidechaining, like just muting everything at once as a snare hits or something. Also I had a question! How do you get the spectral analyzer at the top to be long like that?
Fruity Peak Controller linked to a click that runs along with the kick. Best control I've found. It also doesn't add a weird crossover artifact that gives feedback to the channels linked to a limiter when a very heavy sound plays, like the sub. I'm not sure how else best to describe it.
@@cody42693 Hi, indeed. I use a few different methods myself. It all depends on the track, the beat and what kind of sound I'm going for. Most of the time I just slap LFO tool on it to get some basic ducking, but for more advanced stuff I usually use the compressor. I actually have a really useful video about how to sidechain a melody to make room for a top melody here: ua-cam.com/video/6CJJvO33_lI/v-deo.html
Regarding the spectral analyzer, just right-click anywhere on the empty space in the tool bar up top, and then select "edit". You can then drag to resize it, add extra buttons, rearrange the layout etc. :)
@@SALEENS7GTR5 That works very well too. It all depends on what kind of effect you're going for I suppose. In many situations, a plugin such as kickstart will work just fine. However, in other situations more you'll need a different technique to get a more desirable result, like the compressor, peak controller, or fruity balance for example. They all have their pros and cons :)
@@FireWalkMusic Thank you so much, I haven't seen this video. Been subbed for years and you've taught me a lot!
for those that use external plugins for compression, FE fabfilter c, this alone wont work. there is an extra step required. after setting the sidechain to this track go to the plugin window, click on the plugin settings and go to processing, there click on automap inputs, go back to the plugin window and click on sidechain and set it to external. without this last step sidechaining wont do anything. it took me years before i figured this out.
Death to the pumping effect.
Great tips though!
thanks
You're welcome 🙂
I’ve been doing this exact method for more than half a decade
😃
People really overcomplicate sidechaining (at least in FL). I been doing this over 10 years and the best way I have found is simply adding a fruity balance on the bus, or each individual track you are sidechaining, create a short automation clip, link all the fruity balances to that automation clip, then just dial it in, copy paste it everywhere you need it. It's so simple and easy and you have more control than with any other method. Plus if you need a different shape on a particular hit you can just make unique or even just extend the automation clip and create a new dip.
The key though is using fruity balance. Don't just route any random volume parameter or god forbid the main volume knob on a mixer channel as it has smoothing built in to it.
Thank u
You're welcome 🙂
lfo tool has a midi trigger too.
Indeed, perhaps not the best example in that regard, but I was thinking more about dedicated sidechain plugins in general, which just modulates the volume. LFO tool is actually much more than just your average sidechain plugin. It's extremely useful if you make trap music for example, or want to make some awesome effects. Ther's a lot you can do with it. It's one of my most used plugins actually. :)
Thanks
You're welcome :)
Huh... I figured it out using an older version of FL Studio. It works. (After I screwed it up somehow 30 damn times).
I GOT IT TY
That technique is effective in trap and future bass.
Indeed!
@FireWalkMusic thank you, It was a great tutorial. May I ask you what is the track playing in the last 10-15 seconds? is the FLP available (or can use the new stem tool !) fantastic elements in it, mustve listened to that snippet 10x!
Thanks! Glad you found it helpful. It's from a remix i made for a Norwegian artist. It originally had vocals on it, but they decided to go for another one instead so it was scrapped. I've been using it for tutorials instead. 🙂
Great content, learn alot from your videos. In your future videos can you do a tutorial on how to write uplifting trance melodies thanks:-)
Hi, sure, it's actually on my to do list. On the meantime you might like my latest trance tutorial: ua-cam.com/video/f4r1SaNnjPM/v-deo.html
@@FireWalkMusic
Thanks will check it out
That's the way to go.
But LFO Tool has midi trigger and you can see The kick shape and draw the envelope curve....
Cool
Thanks! :)
What is the problem with side chaining the main kick track instead of using a trigger?
There's no rule that says you can't do that, but there are many benefits to using a dedicated trigger (so-called "ghost kick") instead. For example: When using a dedicated trigger, you could modify or automate the trigger itself (the kick waveform) and tweak the sidechain that way without affecting the main kick.
You can easier enable or disable the sidechaining by removing the trigger itself. For example, let's say you use the main kick as a trigger, but then you'd like to sidechain some sweeps in the breakdown. You wouldn't be able to do that because the kick is not playing at that section. So using a dedicated trigger gives you much more control. Let's say you have a small fill in a transition, and the kick just adds another beat or something, and you'd want the sidechaining to remain normal, then you could use a trigger where the sidechaining acts normally, while the main kick is allowed to do something else.
Or what if you wanted to automate the kick, filtering it down during a bridge for example? That would affect the sidechaining as well, making everything sound different, which is not ideal. In that case, a dedicated trigger works much better.
Sometimes during a breakdown, you might what to have a few one-shot kicks in there, without having it sidechain everything underneath. If you use the main kick for that you would have to start cloning the main kick instead and using separate versions of it to avoid having it interfere with the sidechaining, and it might become difficult to know what's what, and where.
There are tons of scenarios like this that can come up and can complicate things, so I always find it best to just go with a trigger instead. Sometimes you might want a different trigger too if you want a shorter sidechain for example. Some people like to use a shorter kick as their trigger, or even a hat in some situations, to get a very short precise trigger for the sidechain.
That's why I always use a dedicated trigger for sidechaining, and I typically always give it a rather bright color, like red, so that It is easy to see. This is useful when mixing a project from stems too, where I'll typically clone the main kick stem, make it unique and then turn it into a dedicated muted sidechain trigger. :)
@@FireWalkMusic thank you, this was very helpful!
Quick question to make sure i got this right, the track we're putting the limiter on is what has its volume lowered to allow the secondary track, which doesn't have the limiter and we just linked it to the first track, to "pass" and not be distorted etc?
(the thing we're linking the other stuff to, for instance here the bass was the 'origin point' and the kick was linked to it if i understood it right)
genuinely unsure how to explain the question more.. like click track A, click the little arrow on Track B to link B to the origin track A, then limiter on A and the effect would be track A being lowered to allow track B to 'pass through' or just be clearer etc?
I usually sidechain the bass directly to the kick, setting the fruity limiter on the bass mixer channel and compressing the signal. Will it give a better result (sound) if I create a side chain channel and trigger it from there ? I never do that. I always prefer the old skool way.
It's basically the same thing. The only reason I recommend using a dedicated trigger is because then you can use that as an on / off trigger for everything that is sidechained to it. If you use your main kick as the trigger too, then you're limited to using sidechain where the kick is actually playing.
Another reason is that by using a dedicated trigger, you can then change or process the trigger itself, to help shape the sidechain signal.
It all depends on what you need. If your method works for you, then just stick with it. :)
Nice
how to do you sidechain house drum loop with kick drum(full drum loop) maybe stupid question, but it is that not working for me the kick is gone when using kickstart or volume shaper
I have a pre existing track that is a little muddy and am trying now to apply sidechain compression for whatever reason when I right click the box to select side chain it doesn't work just comes up with "none" any ideas why or how to resolve?
Really good video and going through what and when to sidechain is a gamechanger for many people. However, is it me or Gross Beat sidechaining does not work properly anymore? Does anyone know if there is a bug with the effect? After 4 beats it seems to stop the sidechain.
I use fruity balance automation nice and easy 🙃
That works too. You can also use peak controller etc. There are so many ways to do things in FL Studio thanks to it's moduler nature. Lots of possibilities 😀
Am I supposed to hear the sidechain trigger? I feel like I'm not gonna want to hear it if the whole purpose is to simply duck the volume of the bass right?
I have a question for you ! What are in your opinion the pros/cons of volume ducking VS sidechain compression ? I personally always use the old school volume ducking ways with a peak controller linked to Fruity Mute dry/wet knob. I'm eager to know your opinion on that ! Thanks for the great content !
Quick tip ! Instead of sidechaining to affect the volume of your bass, you can assign it to a high pass inside an EQ. This way you're ducking the low end only and you can keep the texture of your bass unaffected.
wait, how do you assign the sidechain to the high pass itself? sounds interesting i kinda wanna test this out!
@@nur226 you can load a peak controller on the mixer track of your kick, then load a parametric EQ in the bass mixer track. Set a hi-pass in the EQ on the first band, then right click the first band Frequency knob > Link to controller > choose the Peak signal as internal controller. You might need to edit the mapping formula to fine tune your high pass to match your needs! I hope this was clear, let me know if you have any questions!
When sidechaining with an audio trigger, do I still send that audio to the master? Right now I have all my base noises going to the same channel for side chaining and then also to the master, should I mute the route to the master? Thank you!
0:11 What's 4 to the floor?
If you have say 3 basses layerd would you do this on each individual bass?
Yes, or send them to a mix bus and add the sidechaining there.
This is proabably a dumb question, but does the trigger method still work if my kicks are NOT in a pattern channel? Like my kicks are pasted one by one on the DAW
Yea, as long as it is routed to a mixer track then this will work.
is the peak controller doing the same thing as the limiter or other compressors?
It modulates the volume so the end result is in many ways the same. It resembles the LFO plugins more in that regard, except that you can use it on more advanced beats as well. The main difference is of course the extra settings offered by the compressor itself, so you can tweak the effect more in that regard. Most of the time, just loading the LFO tool or similar plugin will be the easiest and most efficient way to do it, as long as you have a standard four to the floor beat and you don't need to do any special tweaks for any reason, just pure and simple volume ducking.
The benefit of using the peak controller though is that you could for example link it to an EQ, in which case you could set it up to sidechain ONLY the low frequencies below 200 Hz for example, which could be hugely efficient. So as you can see, there are pros and cons with the various methods. Check out the link in the video description. I've linked to a video showing how to set that up using peak controller.
Teach me more
Have you checked out my other videos? I also have a dedicated playlist with only sidechain related videos 😀
(🥭FL STUDIO)
*How to make House sidechain in Fruity Love Philter:*
• Load up default patch
• Turn on HQ envelopes (less clicking)
• Turn off oversampling (saves CPU)
• Set Filter type to OFF
• Enable Tempo on Vol Envelope
• Make a bar long LFO curve
• Make sure you set the start and endpoints to loop your LFO
TIP: If you want to move off-grid, you can always switch off the green magnet button on the bottom-right of the grid.
Do I EQ an instrument before or after I've added an effect (low filter, reverb, bitchrush, etc)?
Usually before, but it depends on what kind of sound you're aiming for.
@@FireWalkMusic what if I EQ'd the sound before and after adding affects?
Basically layering the EQ's, I tried it and it sounded pretty close to what I was aiming for (while changing the affects themselves just a bit).
But I'm not sure if it would add complications further down the line
rastafari man
My production become more powerful from learning from u … teach me more please .
Hey!
Hey! 😀
🙏🙏
Thanks! :)
why do you need to create another pattern with beats? other videos dont do that?
You don't "have" to do it, but I strongly recommend doing so for a number of reasons. When you create a separate pattern for the sidechain trigger, you have more control over the sidechain. You can turn the sidechain on and off as you please, independently of the kick. You can't do that if you use the actual kick as the trigger.
For example, let's assume you have a breakdown with just some pads, and then you want to have a kick at the beginning of another section, but there's no bass going on, so you don't want the pads and everything else that is sidechained to duck. If you create a separate sidechain pattern, you can just remove the trigger from that region, and the sidechaining will essentially be turned "off" right there. It's a great way to be able to turn on and off all sidechaining. Otherwice you would have to start creating copies of lots of individual elements in your mix, one that is sidechained and one that is not.
This is not always needed of course, but I've found that it's good practice to always do so just in case. Just as you should always color and name your mixer tracks etc. You don't have to do that either, but it certainly makes things easier. Particularly when opening an old project. :)
i was frustrated about sidechain, I got it now thanks for the help
But for something more complex than 4x4 kick pattern you still can use LFO Tool cuz this plugin has input for a trigger signal ☝️
Hi, an alternative option would be to use something like this: geni.us/GND-defender
You can plug it into the PC itself, or use one for each monitor. It physically breaks the ground connection, but it's intelligent so it will sense if there's a grounding problem and reconnect it in that case. I know some people tend to cut off the grounding pin, but that's dangerous and could cause fires, and I strongly oppose that. This device basically achieves the same thing, but in a safe way. It costs a little bit more, but it tend to always do the trick. :)
@@FireWalkMusic that's weird 🗿
@@bipolarowl3546 I think my browser is acting up. I was responding to another comment. Strange 🤔
@@FireWalkMusic ahah, that can happen sometimes 😂
I'm making a song. But I can't make a beat of it.plz halp me
should you sidechain a snare to the kick?
Snares will typically not be sidechained.
@@FireWalkMusic thanks man!
Sidechain is N O T sidechain compression per se (not even when use sidechaining to duck a bassline). This might be valid for beginners or for not really versatile DAW's - but there are DAW's which make side chaining much more useful (like modulate e.g. filter cut off by a sidechained signal). For example some DAW's give much more useful possibilities to duck a bassline... like modulate a volume level directly.
LFOtool does NOT sidechain, it simply helps to modulate (a.o. to duck) a signal like a bassline synchronous to a kick. Sidechain per definition (like the word says) means to use a signal not in the conventional signal flow, it is directed ton alternative signal chain, the s i d e c h a i n. That's why LFOtool might work in some aspects similar to a sidechain, but actually is something completely different (as it uses no other sound signal as modulation source - usually)
Nothing wrong with useing lfo tool
LFO tool is great. I use it most of the time myself. However, it's not ideal in all situations when it comes to sidechaining, and will only work on standard four to the floor beats. That said, when talking about LFO tool in particular it's much more than just a sidechain plugin. It would be especially useful for people involved in dubstep etc, who want to make complex effects. :)
I have another video here showing some more advanced sidechain techniques: ua-cam.com/video/6CJJvO33_lI/v-deo.html
@@FireWalkMusic What are you talking about it only works with 4/4 beats? You can feed it a MIDI note trigger so it activates whenever you want with any beat pattern.
are you the guy from how its made lol
Wait I thought everybody used the compression technique!
Most people probably use plugins such as lfotool. In FL Studio you can do this in various ways due to the modular nature of fl studio, including peak controller, fruity balance, limiter etc :)
Why does bro sound like he's about to sell me something for 4 payments of 19.99??
Fine take my credit card.
Why kickstartn2 does The sidechain reverb? Hahaha
Place kickstart 2 after the reverb to sidechain the reverb too. Place kickstart 2 before the reverb to sidechain only the main sound itself but not the reverb. Add patcher and place the reverb followed by kickstart 2 in order to sidechain only the reverb, but not the main sound. :)
@@FireWalkMusic thanks master
@@FireWalkMusic Now im' using kickstartn2 First 😘
@@hunk443 glad you found the info helpful 😀