Help understanding sidechaining workflow
I got this idea and maybe it's not correct, but there was a tutorial along time ago about using side chain on the master compressor by using control room output.. got to change insert order but when you take the control room signal and put a hipass on it then it seems that the low end is left alone and only the highs are compressed so I just figured flip that concept around to compress low end but I think I'm off a bit cuz with the control room example it's compressing its own signal... Dang lol now I'm all confused
It tells about sidechaining with THE SAME filtered signal as the one that goes to the input. De-esser falls into this category as well. You were talking about "external" sidechaining, as the article defines it.WarStar wrote: ↑30 Apr 2021I'm Not always the best at describing things but this article explains it pretty well...
https://www.audiotechnology.com/tutoria ... -filtering
Yeah you guys are right...!!! Sometimes you think you know something lol
Yeah just figured that out lol sorry guys!!orthodox wrote: ↑30 Apr 2021It tells about sidechaining with THE SAME filtered signal as the one that goes to the input. De-esser falls into this category as well. You were talking about "external" sidechaining, as the article defines it.WarStar wrote: ↑30 Apr 2021I'm Not always the best at describing things but this article explains it pretty well...
https://www.audiotechnology.com/tutoria ... -filtering
I remember that tutorial as well!WarStar wrote: ↑30 Apr 2021I got this idea and maybe it's not correct, but there was a tutorial along time ago about using side chain on the master compressor by using control room output.. got to change insert order but when you take the control room signal and put a hipass on it then it seems that the low end is left alone and only the highs are compressed so I just figured flip that concept around to compress low end but I think I'm off a bit cuz with the control room example it's compressing its own signal... Dang lol now I'm all confused
The reason you would want to highpass the master sidechain input is not so the compressor would leave the lows alone (which it can't) but so that the lows of the song wouldn't have such power over the compression. In bass heavy music the lower frequencies will always be the dominating area in terms of amplitude, so its just a way to balance the compression amount
this is my fav https://www.reasonstudios.com/shop/rack-extension/pump/
- kuhliloach
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Compression use falls into two main buckets: Traditional/Transparent, and the more modern Using Compression As A Color. I like to think of sidechaining also in two similar "buckets". Two types of sidechaining that should both be mastered: Transparent, and Pumpy. The second flavor, pumpy, became an important thing in modern music, thus the existence of RE's like Pump.
Since Pump came out, we've had Europa and Grain, and then Sweeper. They all feature a really good envelope drawing interface, and by using the CV out of that envelope, they can do what Pump does, only infinitely customisable, and you don't have to pay. You can use any of these devices purely as envelope generators.
You take the gate output from the Kong or Redrum channel of your kick sample, and use it to trigger the envelope.
You can use a different envelope length/shape on different channels, and/or use the envelope to control things other than volume - for instance, the 808 kick could add pulse width modulation to a baseline, high-pass a pad, etc.
Other than Pump, there's the SideChain ReAction RE device in the shop, which I have - but I feel these new devices make it largely redundant, though it has cool multiband functions built in.
- integerpoet
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Deliberately pumpy compression makes me want to yell at those kids to get their damned bikes off my lawn.kuhliloach wrote: ↑01 May 2021Compression use falls into two main buckets: Traditional/Transparent, and the more modern Using Compression As A Color. I like to think of sidechaining also in two similar "buckets". Two types of sidechaining that should both be mastered: Transparent, and Pumpy. The second flavor, pumpy, became an important thing in modern music, thus the existence of RE's like Pump.
It literally hurts my ears and I can't turn off the track fast enough. Despite my antiquity, I can't be the only one.
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- kuhliloach
- Posts: 881
- Joined: 09 Dec 2015
Exactly! My head is not some tire that needs to be inflated and deflated repeatedly within a few minutes thanks.integerpoet wrote: ↑02 May 2021Deliberately pumpy compression makes me want to yell at those kids to get their damned bikes off my lawn.kuhliloach wrote: ↑01 May 2021Compression use falls into two main buckets: Traditional/Transparent, and the more modern Using Compression As A Color. I like to think of sidechaining also in two similar "buckets". Two types of sidechaining that should both be mastered: Transparent, and Pumpy. The second flavor, pumpy, became an important thing in modern music, thus the existence of RE's like Pump.
It literally hurts my ears and I can't turn off the track fast enough. Despite my antiquity, I can't be the only one.
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