While this won’t be as impactful on the broader clarity and definition of the mix as modifying the kick/bass relationship, since clashes in the low end are more destructive than excess energy in the highs, it can help the snare to punch through synths and guitars, and lock in the rhythmic shape of the hi-hats. But what about at the other end of the percussive frequency spectrum? Overly bright melodic parts can sometimes obscure the snare drum and/or hi-hats, and while EQ is the first port of call for mid/high-end masking, low-ratio sidechain compression (with the compressor on the melodic part, keyed off the snare or hats) can be a more effective and natural-sounding solution, depending on the parts in question. Keying a bass channel compressor off the kick drum, to duck the former when the latter hits, is such a ubiquitous technique that many producers keep the required routing set up in their template DAW project. Here are 7 tips to help you get more from it.
Sidechaining was once regarded as a purely functional mixing tool, now sidechain compression has become a key weapon in the creative arsenal of producers across all genres.
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