{"id":764,"date":"2015-04-01T00:09:00","date_gmt":"2015-04-01T00:09:00","guid":{"rendered":"http:\/\/box5722.temp.domains\/~audioor1\/audio-compression-intro-and-basics-part-2-sidechaining-2\/"},"modified":"2018-12-23T18:06:16","modified_gmt":"2018-12-23T18:06:16","slug":"audio-compression-intro-and-basics-part","status":"publish","type":"post","link":"https:\/\/audioordeal.co.uk\/audio-compression-intro-and-basics-part\/","title":{"rendered":"Audio Compression Intro and Basics – Sidechaining"},"content":{"rendered":"
In the\u00a0first post about audio compression<\/a>,\u00a0we looked at how a compressor will squeeze the volume above a certain level to create an overall louder sound. That was using compression<\/a> at it’s most basic. There is much more to it however, simple compression is great to tame an instrument or a mix but it can be used much more intelligently. Consider how with most electronic dance music, you get a loud pounding kick and a loud bass.<\/span><\/p>\n These both occupy the same frequencies and can be very difficult to mix.<\/span> Thing is if you have the kick as loud as it can be without going into the RED<\/span>\u00a0you are not going to have much room for anything else, let alone the bass.<\/span><\/p>\n Likewise, if you have the bass maxing out the system, something as loud as a bassy club kick drum will take the volume far into the RED<\/span>.<\/span><\/p>\n “Let’s just mix them together and slap on a compressor,” you say, after all, we now know that a compressor can reduce the volume to manageable levels.<\/span><\/p>\n The bass will be loud and every time the kick plays, everything is reduced and fine…right?<\/span><\/p>\n
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\n<\/i>When a dance song drops, you want the kick drum to be as loud as possible and you want the bass to be as loud as possible.<\/span><\/p>\n