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HOWTO: A method for sidechaining in Logic Pro 8
Some people had questions about the Silent Bass Drum track thing, so here is an explanation of how I'm doing Sidechaining in Logic 8:
1. Create a new audio track.
2. Put a 4/4 kick on that track just as if that was going to be your bass drum track. I'd recommend using an audio file for this. Just makes things easier, plus generally you don't really care how it sounds because it won't be heard. (For the advanced users, I know it will make SOME difference, but I'm trying to keep things simple for demo purposes)
3. Set the output channel of the Audio track you just created to No Output, so the track will be playing but there will be no sound coming out. Make a note of the name Logic gives the track, it'll be something like Audio 1, Audio 2, etc.
4. Now put the Logic Compressor on the Bass Line Synth track.
5. Set the Attack to 0ms, Release to 100ms, Threshold to -30db.
6. Change the Circuit Type from Platinum to Opto
7. In the Sidechain Source at the top right hand corner, choose Audio 1 or Audio 2, whatever is the name Logic gave the track that has the Kick drum with no output.
8. Now hit play in the sequencer and you should hear the sidechaining.
This is BASICALLY how I do it.
Note 1: Extra Experimentation and Practical Uses
You'll want to play with the release time on the compressor to fine tune the pumping effect, and Opto may not be the best choice for the target material, but Opto has a super fast response, so it produces the most pronounced pumping of all the circuit types in Logic's compressor. You may also want to try Class_A or Class_U as these attempt to simulate two very desirable types of analog circuitry and add a bit of "analog" warmth (as warmly analog as a digital reproduction can be)  The Class_A/U, however, do not produce the typical Prydz type pumping unless the threshold is WAY, WAY down and that isn't always desirable.
I tend to sidechain a lot of stuff, even if it is only a little bit. This means sidechaining other drums, the bass (obviously), pads, just about anything with a large frequency range or ranges that overlap alot. The trick for me is to use varying compression settings to suit my target material. Sometimes you want a pronounced "pumping" effect (bass for example), and sometime you just want a little peak control or very light ducking. Moderation is the key here, too much of anything is not good.
This should not be confused with using EQ or panning to give each sound it's own space. In many cases that is a better way to make something stand out. It just depends on what you are going for or what sounds best. In any case, your sounds should be properly EQ'd (if they need it) before you add any compression.
In the light ducking effect, I'm simply trying to make sure the sound I want out in front STAYS out in front. In some cases that light ducking effect can help the rhythmic movement of the entire piece, and then I dont have to EQ out a certain range that I may want present with the bass drum isn't playing, say in the breakdown (I know I can dup the track with different EQ settings, but this is just another way for me). It's all on a case-by-case basis, so don't take the above settings literally for every track. You have to evaluate each sound and adjust accordingly.
Note 2: Alternative Routing
Once you have this working, one other thing you can do is route your Silent Sidechain Kick Audio track to a new Aux Channel using a bus (say Bus 3). Then on the Sidechain Source you can select Bus 3 as the Sidechain Source and anything that is routed to Bus 3 will be used as the sidechain source. You can also route other tracks to this bus for sidechaining sources as well. This can be effective for sidecinaing a pad to the lead. If the two are in the same frequency range, it can help the lead stand out a bit more by squashing the pad when the lead plays. Use this with caution.
Hope this helps and feel free to PM me any questions.
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