Sidechain gat­ing in three easy steps

Future Music - - TOOLKIT -

Un­sure how to go about work­ing with gates and sidechain trig­gers? Here’s a handy three-step guide to get you where you need to be Whilst the most tra­di­tional use of gat­ing is to cut short sounds which fea­ture de­cay and re­lease times you deem too long, the se­cond most pop­u­lar ap­proach is to work with sidechain in­put sig­nals. The ways th­ese work is that they feed an ex­ter­nal sig­nal into the gate, so that it only opens when the trig­ger sound plays. This is in­cred­i­bly ef­fec­tive if you want to sup­plant a rhythm onto a sound which is sus­tained. By gat­ing it with a trig­ger, you’ll only hear the mo­ments where your rhyth­mic trig­ger is in op­er­a­tion. In this way, gates work­ing with sidechain trig­gers are hugely ef­fec­tive at strip­ping un­wanted con­tent from your mixes, al­low­ing for the po­ten­tial for many parts to lock to a sin­gle groove.

The hi-hat is routed to a new aux­il­iary bus and its out­put is switched off to make it silent. This aux­il­iary bus is se­lected as the sidechain in­put for the FabFil­ter Pro-G gate, which we insert on the pad’s chan­nel. The gate only opens when the hi-hat plays.

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