![]() The downside of a gate or expander in this scenario is that you will have to change the settings every single mass. Also, try to find an expander with a dual-threshold for this scenario. I do recommend an expander as your best option for this scenario, but do plenty of research and lots of practice on setting it up first. These can be tricky to setup in such a way that not too much signal is being cut off, and for inexperienced users, it's common for the gate or expander to abruptly jump in and out. These devices mute the channel or lower the volume (respectively) once the mic signal gets too quiet (falls below a threshold). Now, another way to do this is either with a gate or expander. Every DAW handles side chaining in different ways, and some free DAWs don't even allow it. In a digital setting, this can be done on a DAW-specific basis. This is volume dependent as well, so louder signals in the sermon mic will result in a quieter choir mic. What will happen is, every time the sermon mic picks up a signal, it will attenuate, or 'duck', the choir mics. AUTOMUTE SONG PATCHThen put the compressor in sidechain mode and set it up so that it attenuates appropriately, and patch that compressor into the choir mic channel. To use them, split the output signal from the sermon mic, and run that to the sidechain of the compressor. ![]() In an analog setup, you may see a 1/4" TRS cable jack, or possible two 1/4" jacks for separate Left and Right channels, that are labeled SC or Sidechain. To setup a side-chain, you need a compressor with side chaining abilities, whether it be analog or digital. This is the standard way of doing it, however, there is technically a second and third way to do it, which I will also describe below. Ducking is a type of side-chain compression. In studio settings, this is common, especially with talkback microphones. ![]()
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