![]() Now hit L earn on the Current tab and hit play: Set your original vocal track as the Sidechain. To do this, let’s assume you tracked the new vocals on a separate track. In any event, Match EQ can help your vocals achieve some consistency. The singer had a killer sandwich, and is channeling the ghost of Freddy Mercury because of it.The singer is a little sniffley, and sounds like she’s singing through a kazoo.And today you want to rerecord some of the vocal parts.Īfter recording the touch-ups, you find that the vocals don’t sound quite the same. Say you have a vocal track you recorded two weeks ago. And it actually relies on the Sidechain to work. Match EQ is awesome for matching the EQ curve of one track to another. But leave the Reduction set at -100 dB.įind the Threshold where the white noise only occurs when the snare hits, and adjust the Attack, Hold, and Release on the Gate to taste. Select your Snare track in the drop down Sidechain menu. But this time, set it to Gate instead of Ducker. Then open Logic’s Gate on the same track. Open the Test Oscillator and set its mode to White Noise: ![]() ![]() Open a new track and insert the Test Oscillator plugin on it. the white noise acts like a bottom snare track and adds aggression. There are many reasons to Sidechain! Here are some options to consider: Sidechaining Logic’s Gate and Test Oscillator on Snare HitsĪ very common snare trick is to have a blast of white noise under snare hits. Thus, your kick can now enjoy the space it needs! Other Reasons to Sidechain in Logic Pro X Then go up to the Sidechain menu, and select your kick track.įrom here, all you need to do is adjust the Threshold and Ducking on your Gate while you watch the Open and Close meters:Īnd what happens is every time the kick hits, your bass will duck in volume. To do this, insert Logic’s Gate on your bass track. It can reduce the level of the bass every time the kick hits. You won’t lose the bass, but you’ll have room to hear the kick! If the bass can drop in volume each time a kick hits, something magical happens. The thing to remember is that bass notes tend to sustain while kick hits come and go quickly. This sucks, because pro mixes rely on a the low end to be both tight and powerful. Since both the bass and kick are low end instruments, they tend to get in each other’s way. The classic Sidechain scenario is our deep kick and bass are fighting for space in the low end. We Sidechain because we want a plugin to listen to the Sidechain track, but respond on the track it’s inserted on. These tracks are all available for the Gate to listen and respond to. In this case the Gate has the option to listen to another track.Ĭlick on the menu, and you can see a list of all the inputs, tracks and busses in your project: How do you know if a plugin can Sidechain? Just look in the upper right-hand corner of the plugin window: Plugins are the key to connecting Sidechains. But what they do totally depends on the plugin you’re using to listen with. Sidechaining gives you the ability to let your tracks listen in on each other. Sidechaining gives your tracks a set of ears that listens to another track or instrument.īut how do you Sidechain in Logic Pro X? And when should you?Įasy! It’s all really a matter of what do you want to accomplish. That’s what Sidechaining in Logic is all about. Wouldn’t it be great if your bass could hear that kick drum, and step to the side to let that kick really thud? But the bass just seems to steal that kick’s subby glory. Have you ever wished that your tracks could listen to each other?įor example, say you’ve got a killer kick drum that drops right at the perfect spot.
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