You’re probably aware that several Studio One audio processors offer sidechaining—Compressor, Autofilter, Gate, Expander, and Channel Strip. However, both the Spectrum Meter and the Pro EQ spectrum meter also have sidechain inputs, which can be very handy. Let’s look at Pro EQ sidechaining first.
When you enable sidechaining, you can feed another track’s output into the Pro EQ’s spectrum analyzer, while still allowing the Pro EQ to modify the track into which it’s inserted. When sidechained, the Spectrum mode switches to FFT curve (the Third Octave and Waterfall options aren’t available). The blue line indicates the level of the signal going through the Pro EQ, while the violet line represents the sidechain signal.
As a practical example of why this is useful, the screen shot shows two drum loops from different drum loop libraries that are used in the same song. The loop feeding the sidechain loop has the desired tonal qualities, so the loop going through the EQ is being matched as closely as possible to the sidechained loop (as shown by a curve that applies more high end, and a slight midrange bump).
Another example would be when overdubbing a vocal at a later session than the original vocal. The vocalist might be off-axis or further away from the mic, which would cause a slight frequency response change. Again, the Pro EQ’s spectrum meter can help point out any differences by comparing the frequency response of the original vocal to the overdub’s response.
The Spectrum Meter
Sidechaining with the Spectrum Meter provides somewhat different capabilities compared to the Pro EQ’s spectrum analyzer.
With sidechain enabled, the top view shows the spectrum of the track into which you’ve inserted the Spectrum Meter. The lower view shows the spectrum of the track feeding the sidechain. When sidechained, all the Spectrum Meter analysis modes are available except for Waterfall and Sonogram.
While useful for comparing individual tracks (as with the Pro EQ spectrum meter), another application is to help identify frequency ranges in a mix that sound overly prominent. Insert the Spectrum Meter in the master bus, and you’ll be able to see if a specific frequency range that sounds more prominent actually is more prominent (in the screen shot, the upper spectrum shows a bump around 600 Hz in the master bus). Now you can send individual tracks that may be causing an anomaly into the Spectrum Metre’s sidechain input to determine which one(s) are contributing the most energy in this region. In the lower part of the screen shot, the culprit turned out to be a guitar part with a wah that emphasized a particular frequency. Cutting the guitar EQ just a little bit around 600 Hz helped even out the mix’s overall sound.
Of course, the primary way to do EQ matching is by ear. However, taking advantage of Studio One’s analysis tools can help speed up the process by identifying specific areas that may need work, after which you can then do any needed tweaking based on what you hear. Although “mixing with your eyes” isn’t the best way to mix, supplementing what you hear with what you see can expedite the mixing process, and help you learn to correlate specific frequencies with what you hear—and there’s nothing wrong with that.