Side-chaining and Key Inputs:


Pump Up Your Tracks

Audio Engineering Reference eBook
powered by Pinnacle College


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 Side-chaining Explained
The use of "Side-chaining" has become an essential tool in modern music
production, particularly in beat-driven electronic-based music such as EDM and Basic Side-chain Setup
hip-hop. Fans of these genres will undoubtedly be already familiar with the
effects this technique produces– the feeling of a perfectly balanced "808" kick
drum sound or the "pumping" sensation associated with heavy electro house… Input Output
Gain Control
but how exactly are these effects achieved? And what the heck is a side-chain
Element
anyway?

In most dynamic processors such as compressors and gates, the side-chain is

the part of the circuitry that monitors the input level of the unit. The side-chain
follows the envelope of the input signal and sends a control signal based on the Control
settings dialed in by the user (ratio, threshold, attack, release) to the gain control Signal
element, like a mix engineer making adjustments to faders based on the sound
coming over the monitors. Some processors include the option of applying a
high- or low-pass filter to the signal before it reaches the side-chain, which
doesn't affect the tonality of the main signal but does affect how the side-chain Side-chain follows
the envelope of the
responds to what it hears– preventing a cymbal from generating a false trigger
incoming signal
for a gate on a tom track, for example.

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 Side-chaining Explained (cont.)
Normally, the side-chain monitors the level of the channel onto which it has been
inserted, but by enabling the "external side-chain" or "key input," you can set it External Side-chain Setup
up to respond to a separate signal source. For example, in dance music, where
the kick and bass often occupy the same frequency area but both have to have
a big presence in the mix, you can "side-chain" the kick to the bass, causing the Input Output
Gain Control
bass to "duck" whenever the kick hits to avoid phase and muddiness in that
Element
frequency area.
External
The use of external side-chain inputs to control dynamic processors, when set Input
up properly, can do wonders for a clean, punchy, ”pumping" mix. This eBook
will focus on side-chain compression and how to set it up in four different DAWs. Control
Signal

Side-chain follows
the envelope of the
external input

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Compression Parameters 

as applied to external Side-chaining:
Threshold:
 Ratio:

The threshold is the level (volume) above which the signal is The ratio determines the input/output ratio for signals above the
reduced. Since we are using an external source as our input, threshold. Higher ratios, when combined with lower thresholds,
lowering the threshold will allow more of that source’s material to yield the most dramatic results and allow the most control over the
affect the compressor, resulting in greater attenuation, especially level of attenuation. For example, a ratio of ∞:1 will ensure that the
when combined with steeper ratios. compressed signal drops to the threshold level whenever the side-
chain input exceeds it. For subtler, dynamic effects, use a lower
Attack:
 ratio.
The attack is the time period during which the compressor is
decreasing gain once the side-chain input has exceeded the
threshold. Since our primary goal is to “duck” one signal to make
Makeup Gain:

room for another, as short an attack as possible without introducing We are “ducking” a signal to make room for another, so using
any clicks or other distortion is usually ideal, although longer makeup gain is counterproductive in most cases.
settings can be applied for a smoother transition.
Knee:

Release:
 This controls whether the bend in the response curve is a sharp
The release is the time period during which the compressor is angle or rounded edge. A “soft knee” can be used to make subtle
increasing gain to the original level once the side-chain input has side-chain compression settings feel more transparent, or to help
fallen below the threshold. Use shorter release times for eliminate distortion with more extreme settings. Remember,
transparent, subtle effects. Use longer release times for more though, that this control affects how the compressor responds
dramatic “pumping” and “swelling” effects. during both its attack and release phases, so make sure to check
this behavior as you adjust it.

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 Side-chain Compression Procedure Overview
1. 2. 3.
Insert a compressor on the track you Route the external input signal to the Set the gain reduction ratio to the
wish to compress and enable its compressor's “external side-chain” or desired setting. Higher ratios yield
“external side-chain” or “key input.” “key input” and set the desired input more dramatic results.
level.

4. 5. 6.
With both sound sources playing, lower Solo the compressed signal and adjust With both sound sources playing, adjust
the Threshold control until the desired the Attack setting to as short as the Release setting until the desired
effect is achieved. possible without introducing any pops, “pumping” or “swelling” effect is
clicks, or other distortion into the signal. achieved.

7.
Readjust the compressor's Ratio,
Threshold, Release, and Knee settings
to fine tune your side-chain effect.

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1. Insert a compressor on the track you wish to compress and enable its “external side-
chain” or “key input.”

Pro Tools Cubase

Insert a Dyn3 Compressor/Limiter and click the “key” button Insert a Compressor and click the Activate Side-Chain button
in the Side-chain section. (last in the row of buttons at the top of the plugin window to the
left of the preset menu).

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 2. Route the external input signal to the compressor's “external side-chain” or “key input”
and set the desired input level.

Pro Tools
A. Add a send to the external input signal's channel strip and set its output to an available MONO bus
path (key inputs in Pro Tools only accept mono inputs). In the pop-up send window that opens, set
the send to pre-fader and set the send level. In most cases this will be unity (0.0 dB)

Tip:
Option-click the fader to
automatically set it to unity gain.

B. Select the mono bus path from step A from the

key input menu located in the top left corner of the
compressor's plugin window.

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 2. Route the external input signal to the compressor's “external side-chain” or “key input”
and set the desired input level.

Cubase
Activate a send on the external input signal's inspector
panel, select the side-chain path, move the send to pre-
fader mode, and set the send level. In most cases this will
be unity (0.00 dB).

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 3. Set the gain reduction ratio to the desired setting. Higher ratios yield more dramatic
results.

Pro Tools Cubase

Make sure to turn auto make-up gain OFF.

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 4. With both sound sources playing, lower the Threshold control until the desired effect is
achieved.

Pro Tools Cubase

Tip: Cubase's Compressor defaults to a
relatively long release time (500ms). Decrease
this first to a short release time (~20ms) before
lowering the threshold.

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 5. Solo the compressed signal and adjust the Attack setting to as short as possible without
introducing any pops, clicks, or other distortion into the signal.

Tip: With harmonically rich sounds, these clicks can be difficult to hear. To make them more apparent,
temporarily insert a low-pass filter before your compressor while dialing in your settings.

Pro Tools Cubase

Even with the send set to pre-fader mode, Cubase will
mute it when you solo the compressed signal, effectively
bypassing the effect. Instead, turn the external input
channel's fader all the way down.

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 6. With both sound sources playing, adjust the Release setting until the desired “pumping”
or “swelling” effect is achieved.

Tip: Remember that during the release phase, the compressor is increasing gain to get back to the
original signal level. Keep release times short unless you want to deliberately create a “swelling” effect.

Pro Tools Cubase

Cubase's Compressor includes a separate Hold setting which will hold the
compressed signal at the attenuated level for a period of time once the side-
chain input's signal falls below the threshold before triggering the release
phase. It also includes an Analysis setting for controlling the compressor's
response
between peak
and RMS
(average level)
analysis. Peak
analysis ensures
a more immediate
response while
RMS analysis
creates smoother
results.

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 7. Readjust the compressor's Ratio, Threshold, Release, and Knee settings to fine tune
your side-chain effect.

Use these guiding Principles:

•Increase the ratio if you want the effect to be more dramatic.
•Decrease the ratio if you want the effect to be more subtle and/or dynamic.
•Raise the threshold if you want less attenuation over a smaller portion of the side-
chain input's signal.
•Lower the threshold if you want more attenuation over a larger portion of the side-
chain input's signal.
•Increase the release time to add and/or lengthen a “swelling” effect.
•Decrease the release time to shorten and/or eliminate the “swelling” effect.
•Use a hard knee for an immediate, linear transition between the original and
attenuated signal.
•Use a soft knee for a smoother, “curved” transition between the original and attenuated
signal.

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 To hear the audio examples in this pdf, be sure you are viewing the pdf in adobe reader. If you don’t have adobe reader, you can download it here for free.

Audio Examples

Before Side-chain Compression After Side-chain Compression

Side-chained Bass Soloed

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 Author 

Brian Foreman
Interested in learning more about audio and 

Brian is a music producer,
DJ, sound engineer, multi-
getting hands-on experience in a studio? 

percussionist, and instructor Contact admissions to hear all that Pinnacle
at Pinnacle College. His
formal education includes College has to offer.
the University of Southern
California and California
Institute of the Arts. Contact Admissions to Learn More
soundcloud.com/beforeman

Side-chaining and Key Inputs: Pump Up Your Tracks

Audio Engineering Reference eBook

powered by Pinnacle College


Campuses in the Los Angeles and Sacramento Areas | 1-877-206-6206 | www.pinnaclecollege.edu