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Post by oswlek on Nov 15, 2012 16:50:06 GMT -5
Do you guys use them? How often? Does it completely depend on the mix or have you found that you regularly sidechain the same stuff?
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Post by unclenny on Nov 15, 2012 18:41:28 GMT -5
I like to set up a compressor on a bus and key the side chain to a full up send from my vocals.....say, bus 6. I usually set the input of that bus to analog 15-16 and the output to go where everything else is going. Then I'll send the main guitar tracks to bus 15-16 and set the compressor carefully. When the vocals come in it triggers the compressor and the guitars 'duck' under the vocals. Attack and release settings are very important.
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Post by oswlek on Nov 15, 2012 19:01:33 GMT -5
I like to set up a compressor on a bus and key the side chain to a full up send from my vocals.....say, bus 6. I usually set the input of that bus to analog 15-16 and the output to go where everything else is going. Then I'll send the main guitar tracks to bus 15-16 and set the compressor carefully. When the vocals come in it triggers the compressor and the guitars 'duck' under the vocals. Attack and release settings are very important. So, you only do it for guitars and vocals? Is that because your mixes tend to be more simplistic (not in arrangement, just total number of instruments) or do you view those as the most important ones to take care of?
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Post by unclenny on Nov 16, 2012 2:38:49 GMT -5
Actually.....I do it for any instrument that is steady during the song....so bass and drums are often ducked as well. Accent instruments like keys are often not.
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Post by oswlek on Nov 16, 2012 10:26:43 GMT -5
Actually.....I do it for any instrument that is steady during the song....so bass and drums are often ducked as well. Accent instruments like keys are often not. Do you have to SC them all differently? Or is it so subtle that they all get sent to the same one?
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Post by oswlek on Nov 27, 2012 16:55:48 GMT -5
So, I've been listening real close and I'm starting to think I hear a lot of mixes using subtle SC with the kick, allowing it to cut through the mix without pushing the volume limits. Do any of you?
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Post by bee3 on Nov 28, 2012 8:26:36 GMT -5
I don't... this sidechaining business is still out of my technical reach. (ie, no idea how to do it).
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Post by rsadasiv on Jan 9, 2013 23:59:34 GMT -5
So, I've been listening real close and I'm starting to think I hear a lot of mixes using subtle SC with the kick, allowing it to cut through the mix without pushing the volume limits. Do any of you? Yes, it's very common (and often not especially subtle). Originally it was developed to duck the backing music out of the way of the pitchman reading the ad copy but now people often key it from a drum part.
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Post by leeknight on Jan 10, 2013 9:58:05 GMT -5
I've used sidechaining and never really like the effect. I prefer creating sounds that work together. Arrangement is a big part of that as is the frequency content. I'm not saying it isn't the beez neez, just that it hasn't really made me smile in my work...
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Post by rsadasiv on Jan 10, 2013 10:13:13 GMT -5
I've used sidechaining and never really like the effect. I prefer creating sounds that work together. Arrangement is a big part of that as is the frequency content. I'm not saying it isn't the beez neez, just that it hasn't really made me smile in my work... Yeah. If you are just mixing that might be the only option, but in general if I want to get rid of other instruments around that drum hit I just don't play anything on those other instruments when the drum hit is playing. I don't feel like I need it on my drums because my drum sounds have strong attacks anyway, and will peak over the backing tracks even without ducking. And at an arrangement/performance level I'm very concerned with leaving space for the vocal - if I need to duck the backing track then I probably need to rework the backing track. Modern sidechain compression is pretty similar to 80's gated reverb, except replacing the gate with a compressor makes it easier to apply the same behavior to unrelated audio sources.
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Post by leeknight on Jan 10, 2013 10:28:17 GMT -5
Guys like Fernando Garibay and will.i.am are using sidechained compression in some interesting ways. Where the whole track pumps with the kick. It's a pretty common techno trick that is making its way into the pop world. But it isn't for me. It makes me seasick. It's cool but very gimmicky.
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Post by rsadasiv on Jan 10, 2013 10:31:14 GMT -5
Guys like Fernando Garibay and will.i.am are using sidechained compression in some interesting ways. Where the whole track pumps with the kick. It's a pretty common techno trick that is making its way into the pop world. But it isn't for me. It makes me seasick. It's cool but very gimmicky. Yeah, depending on how you set the attack and release times it can have a very rhythmic effect (for good or for ill).
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Post by bee3 on Jan 10, 2013 10:34:04 GMT -5
My kids love this song... (we just saw Wrecked Ralph over the holidays). They want me to play it in the car all the time. It actually gives me anxiety listening to it... but it's got that pumping thing going on.
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Post by leeknight on Jan 10, 2013 11:12:42 GMT -5
^^^ That's perfect! Adam Young is doing kid's music. He's a guilty pleasure of mine. Sooo candyass pop. I'm a sucker for it. But yeah, I'm seasick. It's a kid thing for sure. It's like how roller coasters just sort of got to me this year. I love roller coasters, but at 53, something is shaken up that doesn't like being shaken up any more. Same with that pumping. I've turned some kinda corner I guess.
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Post by rsadasiv on Jan 10, 2013 11:15:07 GMT -5
My kids still love that Owl City/Carly Rae Jepson track (which has the same kick sidechain, natch)
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Post by leeknight on Jan 10, 2013 11:46:41 GMT -5
I am such a dweeb. I love that song^^^. I've been using it a bit as a blueprint for someting I'm working on right now. I could hang out with both of you guy'es kids. "Hey! Let's put Owl City on again!!! Yay!!!!"
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Post by rsadasiv on Jan 10, 2013 12:11:00 GMT -5
I am such a dweeb. I love that song^^^. I've been using it a bit as a blueprint for someting I'm working on right now. I could hang out with both of you guy'es kids. "Hey! Let's put Owl City on again!!! Yay!!!!" TIME FOR AN INTERVENTION!!!!! Bacharach and David, "Do You Know The Way To San Jose?" In the verse she is trapped in her confining home town (San Jose). The harmony is close voiced; the melody is underneath the top of the chord. In the chorus she escapes to the big city (LA). The harmony is open voiced; the melody moves to the top of the chord, and everything opens up. In the third line of the chorus she is transformed ("make you a star") and the harmony changes keys. In the end of the chorus she realizes that her life is at a dead end ("weeks turn into years") and the chord progression stops, and hangs on the G. tabs.ultimate-guitar.com/d/dionne_warwick/do_you_know_the_way_to_san_jose_crd.htmOwl City is not bringing you this type of elegant, holistic song construction.
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Post by leeknight on Jan 10, 2013 12:47:03 GMT -5
Intervention!?!? I can stop anytime I want. I just dont want! You people don't love me! Mind your own business! I listen to mindless pop because I want to... not because I havet to! I... I... whaahhhh! I... I... whaaaaaahhhhh! OK. I'll go to rehab. Thank you. I love you too. hugs
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