Logic Pro 9 Sidechain compression and bouncing stems


Maybe I'm doing this wrong from the get-go(the sidechain thing) but here's my dilemma:
I'm producing some dance tracks with a healthy amount of sidechained compression on various elements--for example, the synth bass will have a Logic compressor set to side-chain off the kick drum. The way I'm doing this is, I send my kick drum to a buss, and mute that buss. Then in the synth bass channel, I insert the compressor, and set the sidechain to said buss where the kick is going. Works fine when I'm mixing myself, but I have a few songs where I need to bounce out individual stems to send to someone else to mix(for TV). I do this by soloing each track and bouncing individually, as I have lots of automation going on with send levels to buss effects and whatnot.
But, when I do this, of course, I lose the sidechain's effect on the compressor. I realized I had the kick's send set to "post fader", so I switched it to "pre fader", then solo'ed my synth bass, soloed the kick, and pulled the fader down on the kick. I was getting the sidechain working that way for the bass stem, but the level of the signal that's reaching the sidechain is now all screwy--it's different than it was when I had it set to "pre-fader".
I assume that I simply now need to go in and re-adjust the compressor settings, levels and whatnot, but I have a good many tracks like this, so, before I roll my sleeves up...am I doing this the right(best) way?

I'm on Logic 9.1.4 BTW

Any tips appreciated!
The best thing Logic did in the V9 upgrade in my opinion was to all one to record busses as inputs.

So, I suggest you set up all your outputs (each track, buss, and FX return) with it's own buss out, then add a new audio track for each, select the newly assigned busses as your inputs, test to make sure you have everything working, and then record the whole thing (ALL stems) in one pass in real time.

When done, to test load all the tracks into a new song, add your master output FXs (like master buss compression and limiting) and your mix should be identical.

As for your issue with the side chain, safe solo the kick trigger channel (I believe it's command click on the solo button and a slash will appear to confirm it's active.. and if that key isn't the correct one, try option click, etc).


Thanks!--I had no idea--I never tried that before--the recording busses as inputs. It certainly speeds up the bouncing of stems, but the possible disadvantage I can see is that now I'm generating more stems than before. Whereas before I'd laboriously solo each instrument and bounce, with all of it's bussed effects in tow, now I'm generating a stem for the instrument and then a separate one for the bussed effect. Does a mixer want to receive stems that way? I've never had an issue with my old (albeit slow) approach. Wouldn't this mean a more complex mix for the mix guy? Am I missing something?

Thanks on the safe solo tip too--for example I just tried it, setting the output of the kick to "none", soloing the bass track, and voila, the sidechain compression effect on the bass (triggered from kick send to buss)was working fine with bass track soloed.
Well, it depends how they wanna mix. Me, I'd prefer to have stuff as separate as I can get. I had a song I just remixed, with blended tracks (8 stems: drums, bass, synths, kick, and 4 vocal stems)... I would have much rather had what I am suggesting: all the tracks unmixed, with the FX stems to blend. When I add all tracks at unity I get the final mix that original person did, but I need to tell you it's what I want. Might not be what they want, so maybe you can ask them.

As for time, it can be much faster to set up the busses, but again, what do they (the remixers ) want?.


Very interesting. For things like TV commercials being mixed at a post facility I've always thought I should minimize the number of stems I'm sending to simplify their lives. I usually don't combine instruments or vocals too much, but I've never sent buss effects as separate stems. I can certainly see the advantage. I can remember one TV spot I did where the client kept pushing and pushing for tons of reverb on everything, and lo and behold, when it was being mixed I got a frantic call from the post house asking me to pull down the 'verb! Once the client heard it there he thought it was too much(which it was:)! He had only ever listened to it on laptop speakers prior to mix day(don't even get me started on THAT...). Good thing I was available to do it fast. Would not have been an issue if I sent the effects separately!