CLASSIC (OFFHAND) EXAMPLE – KICK-BASS DUO HOW TO’s & SOME SWANKY PRACTICAL EXAMPLESġ. Note that mastery of these techniques may result in a noticeable increase in drink tickets, remix offers and dates. It will make your tracks sound far more groovy, catchy and “pro”
It’s used for de-essing, and so on and so forth.
It allows to do miracles with reverb and delay tails when used on returns track. It adds extra movement to our instrumental parts.
Cytomic the glue vs ableton glue how to#
The benefits for those who learn how to use it properly are top-notch- it helps to solve frequency conflicts aka masking (not only in a kick-bass pair, but also in kick-low synths, synths-vocal, synth-FX, you-name-it pairs). Techniques we’ll be digging here can be used in multiple ways for solving versatile tasks, both technical (during mixing & mastering) and also the creative ones. We are talking electronic music here (let’s call it EDM to simplify) and those rhythmic movements is flesh and blood of it. PSHT you say! WTF! Can’t you just use another wording?! Well… got no intention to talk your ears off- but the wording, however fancy it is - doesn’t change the point. our nifty pumping effect) of audio content either by level or by level and frequency (in case with complex dynamic EQs that got built-in compressor with sidechain option on board). So why should we invest our precious time learning it? Using these techniques we can create a controllable rhythmic fluctuations (e.g. ADVANTAGES IT BRINGS (and how to get on a roll) Still I do not mean there is an ultimate truth delivery with my interpretation – the only point was to mention that these 2 terms are not 100% identical that could have misguided you at a certain point. AUTOPAN) that act constantly and in the most of the cases placed as an insert in the plug-chain of the track. While DUCKING means modulating the destination with continuous LFO-like effects (e.g. BASS channel- KICK channel classics) with modulation happening ONLY when there is a signal present in the SOURCE track (with GAIN compensation as the only exception). Some use “sidechaining” and “ducking” as identical terms, but I would differentiate them for clarity: SIDECHAINING means modulation of the destination track with a source track (e.g. Sidechaining is a part of versatile compression techniques family (there’re at least 5 of them that I know but I’m sure there are more). So let’s dig it! SHORT TECH INTRO (and whatnot) For the latter - I guess you won’t rant and rave, re-reading things we already know pretty often brings extras to the table - happened dozens of times to me and still happening. Apart from that - new plugins are popping up on the market regularly so I’m giving it a shot, providing an overview of my own that hopefully would be of help both for the beginners and intermediate level producers. Still the catch-all and clear overviews happen not too often.
Tons of pages on the subject have been printed through the years by dozens of sound producers and mix engineers. It’s a somewhat finicky tech- but well worth it! Proper handling of this technique - is one of the things that separate the men from the boys (sorry gals, just a fixed phrase) so please read on if you like the backstory. Here are few examples of sidechain compression in action: or both).įor those in the know (and for those who not) – these days it’s pretty hard, almost impossible to find an electronic music track (low-end heavy as a rule) where there would be no single instance of sidechained compressor used. The subject of this article is pretty techy – and for this reason there is almost no chance to go informal and easy… still I’ll do my best not to make you driving up the wall… or nail-biting.
0 kommentar(er)
