In a film mix, when using sidechain compression with dialogue as the trigger, which track is typically ducked?

• A. Music.
• B. Dialogue.
• C. Foley.
• D. Ambience.

Answer: (A)

Sidechain compression with dialogue as the trigger is used to create space for the spoken word by reducing the level of the track that could mask it. In film mixes, the most common practice is to duck the music whenever the dialogue comes up. This means the compressor is placed on the music bus (not on dialogue or ambience) and its sidechain input comes from the dialogue track. When dialogue peaks, the compressor lowers the music, so the dialogue remains clear and intelligible, and as the dialogue fades, the music returns to its normal level. You don’t duck the dialogue itself (that would make it less intelligible) or the Foley/ambience as the primary target; those elements are kept more constant, while music is adjusted to sit beneath the dialogue.