kinda, since you're sending your vocal track signal to a bus, the compressor will be triggered by the vocal that already has reverb on it. if you set the Side Chain option to the vocal source, the clean and dry vocal signal is going to trigger the compressor and you'll have a more precise and better sounding effect @@vuagnouxyoann44
Not side chain reverb, just reverb (well filter bracketed reverb). Not side chain delay, just delay (also filter bracketed). Side chain reverb or delay will turn down the effect while the vocals are sounding and then turn the effect up when the vocals stop. So that you have a wash of reverb / delay in the spaces between phrases but they don't overpower the phrases themselves.
You're right. This isn't quite what I'm looking for. You can side chain with the vocal itself to squash the reverb. You bussed the reverb. you didn't side chain it.
Is this not just adding reverb and delay to the vox track? Surely as it's a "how to sidechain" video, you should be using sidechain at the top right to sidechain it to the vocals?
My question is : how do you sidechain the same reverb bus with compression sent to the main vocal to let’s say harmonies/octaves and background vocal tracks? Of course you can just make multiple busses with the same exact chain of reverb and compressor side chained to each octave, harmony and background vocal track, but is there a more efficient way?
Hi, I can't see any more efficient way than doing it one by one, since one compressor can only work one sound source, unless you want to send all of our vocal tracks to one channel, then have one reverb and compressor FX channel work on that one channel, but I'm guessing it going to sound muddy.
That is not sidechain. Sidechain by definition is controlling the ducking of a compressor compressing one signal by keying the compression from a different signal, through that compressor's sidechain function. A 'side' signal. What you did here is place a compressor directly in line with the reverb (and another on the delay) and those signals were simply compressed conventionally, and internally. Yes, this does not affect the dry track at all (which likely will have its own compressor with different settings), but this is using three separate compressors for dry, the reverb send, and the delay send, and compressing each of them separately and directly. That is not sidechaining. It's sending. Not that this does not work, but it's as basic as regular conventional internal compression ever gets. Logic labels this as 'Sidechain: Internal', but that could not be more Incorrect. There is no 'side' when the compression is internally keyed by the signal being compressed, itself. What 'Sidechain: Internal' means, is the sidechaining is turned off. 'Internal' is only a choice on the drop-down menu, a selection that is the default setting for using the compressor conventionally. Sidechain is much more sophisticated than that. There is a technical difference with a distinction here, and actual sidechaining can give much more fine control over exactly what part of the signal is compressed and what isn't. For instance, you can duck a bass from a kick drum track, by placing a compressor on the bass track and keying that compressor from the kick track (Select the kick from the drop-down menu way up in the top right corner of the compressor). What this does is duck the bass very briefly, just long enough for the attack of the kick to 'shine through', as you put it. It does not compress the bass signal itself, from the bass signal. It compresses it only from a side signal (the kick), so there is no envelope or level control based on the bass signal itself (use a separate compressor for that). If you were to not sidechain it, whenever the kick and bass, which compete for some of the same frequency and panorama space, were to hit together, there is a possibility of destructive interference, and what that is is 'mud'. You can't hear the attack of the kick clearly if a low bass note is present at exactly the same time. Or the bass. Duck the bass about 5 dB during the kick attacks, and they both timeshare that space elegantly. That also allows the mix to be turned up about 3 dB due to the reduction of the otherwise cumulative effect of kick and bass hitting at the same exact moments in time-those moments are essentially not there anymore, and that space is dominated for just a split second by the attack of the kick. And there is no bussing, no auxes, and no sending needed. It's much less complex than that. What you want is a clear attack from the kick, and this gives you that exactly, and only, when you need it (when the kick hits at the same time as the bass). It does pump the bass, but the attack of the kick masks that, so the pumping is not audible at all. Sustained notes from the bass are only affected (ducked) during the kick hits, meaning the tonal or frequency fundamental, or envelope of the bass is still right there where you need it. You can also duck reverbs this way. You can route global reverb sends through a sequential bus and place a compressor on that bus. And if you set the sidechain to some other instrument (like a lead vocal), which is how sidechain actually works, the reverb will only be ducked by that instrument or vocal track, giving a clearer attack to that instrument without having to turn it up. Other instruments in the mix will not be affected, and their reverb sends will not, either (unless you want them to be and route them to the same reverb sends) You can also bandpass the sidechain to affect only part of the frequency band.
You’re meant to click the top right hand corner ‘Side Chain’ and choose which Vocal/Instrument to activate the ducking effect to work.
Yes, aren't we supposed to do that ?
But it seems to work without doing it ???
kinda, since you're sending your vocal track signal to a bus, the compressor will be triggered by the vocal that already has reverb on it. if you set the Side Chain option to the vocal source, the clean and dry vocal signal is going to trigger the compressor and you'll have a more precise and better sounding effect @@vuagnouxyoann44
@@vuagnouxyoann44 no need, as you are working on the bus track and the signal that is coming to the bus track is the reverb.
Not side chain reverb, just reverb (well filter bracketed reverb). Not side chain delay, just delay (also filter bracketed). Side chain reverb or delay will turn down the effect while the vocals are sounding and then turn the effect up when the vocals stop. So that you have a wash of reverb / delay in the spaces between phrases but they don't overpower the phrases themselves.
That's why I love Fractal Audio FAS Reverb so much, as it has super tight control over automatic ducking. No extra plugins or routing needed.
I’m new to Logic Pro and even I know you didn’t sidechain but I still get it and this video is almost perfect
Clear and simple, but most important very useful. Thanks.
Looks good, but 480 resolution doesn't cut it - try 1080 so I can see your screen - thanks
A 360p video coming your way!
How did he not need the actual side chain option? Maybe I only need that box selected when I want to send an entire vocal bus to it?
You didn’t side-chain though…
You're right. This isn't quite what I'm looking for. You can side chain with the vocal itself to squash the reverb. You bussed the reverb. you didn't side chain it.
simple and clear , thanks !
Is this not just adding reverb and delay to the vox track? Surely as it's a "how to sidechain" video, you should be using sidechain at the top right to sidechain it to the vocals?
Honestly Haden't had to do this for a while and couldn't remember how to do this. Thanks!
Nice Technique I'm adding this to my go to mix skills
Loved the video thank you adhd at its best❤
Thx bro good video
I don't think it's sidechain method but nice effect besides
Yeah, very nice tutorial. Thanks bud!
Glad it was helpful for all your music production you do ;) hahah
My question is : how do you sidechain the same reverb bus with compression sent to the main vocal to let’s say harmonies/octaves and background vocal tracks? Of course you can just make multiple busses with the same exact chain of reverb and compressor side chained to each octave, harmony and background vocal track, but is there a more efficient way?
Hi, I can't see any more efficient way than doing it one by one, since one compressor can only work one sound source, unless you want to send all of our vocal tracks to one channel, then have one reverb and compressor FX channel work on that one channel, but I'm guessing it going to sound muddy.
very good very helpful
Bro why aren’t you still making tutorials?
Dylan Matthew is goated for edm vocals.
can this work on live performance?
Thank you for this very nice.
Thanks for watching!
That is not sidechain. Sidechain by definition is controlling the ducking of a compressor compressing one signal by keying the compression from a different signal, through that compressor's sidechain function. A 'side' signal. What you did here is place a compressor directly in line with the reverb (and another on the delay) and those signals were simply compressed conventionally, and internally.
Yes, this does not affect the dry track at all (which likely will have its own compressor with different settings), but this is using three separate compressors for dry, the reverb send, and the delay send, and compressing each of them separately and directly. That is not sidechaining. It's sending.
Not that this does not work, but it's as basic as regular conventional internal compression ever gets. Logic labels this as 'Sidechain: Internal', but that could not be more Incorrect. There is no 'side' when the compression is internally keyed by the signal being compressed, itself. What 'Sidechain: Internal' means, is the sidechaining is turned off. 'Internal' is only a choice on the drop-down menu, a selection that is the default setting for using the compressor conventionally.
Sidechain is much more sophisticated than that. There is a technical difference with a distinction here, and actual sidechaining can give much more fine control over exactly what part of the signal is compressed and what isn't.
For instance, you can duck a bass from a kick drum track, by placing a compressor on the bass track and keying that compressor from the kick track (Select the kick from the drop-down menu way up in the top right corner of the compressor). What this does is duck the bass very briefly, just long enough for the attack of the kick to 'shine through', as you put it. It does not compress the bass signal itself, from the bass signal. It compresses it only from a side signal (the kick), so there is no envelope or level control based on the bass signal itself (use a separate compressor for that).
If you were to not sidechain it, whenever the kick and bass, which compete for some of the same frequency and panorama space, were to hit together, there is a possibility of destructive interference, and what that is is 'mud'. You can't hear the attack of the kick clearly if a low bass note is present at exactly the same time. Or the bass. Duck the bass about 5 dB during the kick attacks, and they both timeshare that space elegantly.
That also allows the mix to be turned up about 3 dB due to the reduction of the otherwise cumulative effect of kick and bass hitting at the same exact moments in time-those moments are essentially not there anymore, and that space is dominated for just a split second by the attack of the kick. And there is no bussing, no auxes, and no sending needed. It's much less complex than that.
What you want is a clear attack from the kick, and this gives you that exactly, and only, when you need it (when the kick hits at the same time as the bass). It does pump the bass, but the attack of the kick masks that, so the pumping is not audible at all. Sustained notes from the bass are only affected (ducked) during the kick hits, meaning the tonal or frequency fundamental, or envelope of the bass is still right there where you need it.
You can also duck reverbs this way. You can route global reverb sends through a sequential bus and place a compressor on that bus. And if you set the sidechain to some other instrument (like a lead vocal), which is how sidechain actually works, the reverb will only be ducked by that instrument or vocal track, giving a clearer attack to that instrument without having to turn it up. Other instruments in the mix will not be affected, and their reverb sends will not, either (unless you want them to be and route them to the same reverb sends)
You can also bandpass the sidechain to affect only part of the frequency band.
Thanks for the info
Thanks for for watching 😊
Is this post or pre fader?
Post Pan
very good
this one is still great!
2 for 2!!
Perfect 👍🏿
No sidechain?
I do not follow. Can you be more specific please?
@@mythicalnoise5785 Sure, sorry. In your solution, you didn't use the sidechain function in the compressor. Good video, tho.
Wow. You’re right! What the hell was I thinking? 😂😂 great catch man!
@@mythicalnoise5785 All good. The ducking effect you described works well!
Whew. Glad it worked out ok for you
I must be missing something here... There was no sidechaining.. Ducking maybe?
Yah, you are right. This was the very first video of mine and I completely forgot to set the side chain function. Good catch
@@mythicalnoise5785 No problem. I just thought I was missing a step. I went back and watched it again just in case.
No sidechain?? 😊
No I screwed the video up.
U didn’t sidechain at all bro… u didn’t select the input signal for sidechain my man..😂
Wrong sir. U didn do it correctly. That ain’t no side-chaining.
I am not sure why you uploaded a video in 2022 at 480. It's just a blur. Shockingly bad quality.
Charlie puth???
For anyone wondering about the actual side chain option - in regards to the delay and reverb ⬇️
ua-cam.com/video/cEPIUfhLedI/v-deo.html
This guy doesnt know what hes talking about. This aint even a side chain 😂