Suloo
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Posted : Aug 5, 2011 01:54
Quote:
On 2011-08-04 00:03, willsanquil wrote:
..which is sidechained to the kick so that every time the kick comes in the bass ducks the kicks frequencies...
you ment that everytime the kick comes in, the kick ducks the bass frequency..im sure you ment the right thing.. -------......-------...-..-..-..-.-.-.-.-
willsanquil
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Posted : Aug 5, 2011 02:28
Ducking is getting out of the way of something.
If I throw a ball at you, you duck to get out of the way. Replace the ball with the kick and you with the bass. Is the ball ducking from you or are you ducking from the ball?
The bass frequencies get out of the way of the kick, therefor I would think that my original statement was correct as written and yours is incorrect. At no point does the kick get altered, but the bass does - I'm pretty sure that means the bass is ducking.
Regardless of the semantics behind what I wrote, I know how to sidechain bass and use it as I see fit - that is not the interesting part of the discussion
What I'm interested in is if anyone else can hear the sidechain compressor used in this bassline example as Chicke said he could. I will freely admit that I've still not wrapped my ears around compression but I don't hear it, or in fact see the need for it at all unless the bass frequencies and the kick frequencies are overlapping.
If they're not, then normal non-sidechained compression would be preferable I would think.
As I see it sidechain compression with this method is useful for subtle-to-not-so-subtle pumping effects and also tightening up the kick/bass combo so its more clean and they're not fighting each other.
In this example the bass notes are so far away from the kick as to negate any pumping from a sidechain (or so my ears tell me, could be wrong) and the same thing would seem to apply to the tightening up as well, as the compressor won't activate until the sidechain signal comes in right?
klippel
Stereofeld
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Posted : Aug 5, 2011 08:48
it is hard to say as mentioned but i can not hear any indication for a sidechain here on the bass.
0.02$
http://www.ektoplazm.com/free-music/stereofeld-frequenzwechsel "I've always been a believer in musical repetition to draw in the listener and make the music hypnotic. Another thing I believe in is repetition." Alan Parsons
untilthereislight
IsraTrance Junior Member
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Posted : Aug 6, 2011 01:00
Quote:
On 2011-08-05 04:16, dj chichke wrote:
Quote:
On 2011-08-04 22:04, willsanquil wrote:
Anyone else besides Chicke hear the sidechain?
I don't.
sidechain doesn't have to be in the face. many use it just to make better dynamic between the kick and the bassline, to make the bassline sounds like it comes stight fro, the kick. i hear it in the dynamic of the bassline.
Great bassline.
I agree with you. Its definitely there. There is some tail which is ducking with the kick. Maybe its a reverb on the bassline i feel. But its mainly adding to the dynamics very effectively.
Btw I love Suntree. Slightly off topic but heres a video of him live from OZORA 2011.
StarLab - Label DJ/Artist for Digital Om Productions
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Posted : Aug 6, 2011 20:53
i use always sidechain too...
i think that the last breath of the kick hits the bass
Upavas
Upavas
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Posted : Aug 6, 2011 23:13
I predelay my bassline 5 ms , it brings it out more, it requires sidechain, so kick and bass don't overlap. Even with the tightest of kicks, also, if you cut the end of a kick you cut of the low frequencies, that which gives you the oh so sought after bass thump... Which the bass needs to lean on...
Upavas - Here And Now (Sangoma Rec.) new EP out Oct.29th, get it here:
http://timecode.bandcamp.com http://upavas.com http://soundcloud.com/upavas-1/
Lale
IsraTrance Junior Member
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Posted : Aug 15, 2011 23:21
most of the people here say there is no problem to create this bassline (topic).
But i dont believe this.
Lets hear some!
supergroover
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Posted : Aug 16, 2011 00:33
this one has a similar bassline.
soundcloud.com/supergroover
syntesis
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Posted : Aug 16, 2011 03:20
I really love the base of Psycho Abstract from Spain:
Elad
Tsabeat/Sattel Battle
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Posted : Aug 16, 2011 12:26
Quote:
On 2011-08-04 00:03, willsanquil wrote:
Well, maybe I don't understand something properly then...
You have a kick, you have a bass. You put a compressor on the bass channel which is sidechained to the kick so that every time the kick comes in the bass ducks the kicks frequencies...
Depending on the compressor settings you can either get a dramatic pumping effect or subtle tightening/cleaning up the low end to make sure everything sits nicely. Lot's of other stuff too.
However, the compressor only kicks in when the kick is playing, so in a traditional 3x 16th note bassline the compressor will only be active on the first note.
So, with the OP's youtube video in question where there are only 2 notes what would the purpose of the sidechain compressor be, considering that the kick is not close to the bass notes?
I mean, I guess if you were using a kick with a really long tail or something? It's entirely possible that I'm just not understanding some other use of sidechain compressors and if so I'd be glad to be made aware of it
release time on the compressor would still duck the bass even with short kick
depend if you even like the effect it does
i prefer lot of times velocity
but also sc is very nice sure
www.sattelbattle.com http://yoavweinberg.weebly.com/
mudpeople
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Posted : Aug 20, 2011 04:50
Ive never had the need to sidechain my bass/kick, but also Ive been working mostly in Renoise which doesn't allow inter-channel MIDI routing, and using layered samples for kicks and sampled bass, with envelopes on both to keep them slightly-less-than-16ths (for 16th budududu basslines) so there hasn't been any need to duck anything. Renoise can use SideKick, but last time I tried that I nearly lost a whole project with about a year's work behind it (now i backup like a paranoid).
Ive been feeling my way into the world of sidechaining now that Ive got Reaper x64, and some great 64 bit compressors, MCompressor WINS. Crunchessor kills Reaper and Ableton, haven't tried it in Studio One, but Ive been pleased with the freeware's results so havent really felt the need.
Also, inspired by another thread on here, Ive done a lot of experimenting with bass synths other than 303s and am really enjoying how they sound. A few Moogs, a few SH-101s, and a Technosaurus Microcon emu are part of the live setup bass rack and I love em. Ive always been satisfied with 303 basses, and any synths with more than 1 osc, more tha1 envelope, modulation controls, effects, and such, always seemed like they would be difficult to make solid, consistent, unmodulated mono-basses, so I've kinda isolated myself to 303s, sampled and enveloped in Renoise. I found though that once I realized how to go about making multi-osc synths into mono basses, the same technique works for most bass-capable synths, and its as easy as turning knobs or sliders all the way down, tweaking filters slightly, and if necessary turning the volume of other oscillators off (allowing them to crosstalk with minimal phase issues). With the SH-101s theres more care and fine tuning needed to get them just right, but thats fine, cuz I now am enjoying their delightful bass tones, multiple oscillators, sub oscs, and full ADSR.
Related question; In my live setup in Ableton, how can I make sure there isnt any masking going on, since Live seems to have sidechain issues, is there another way? Ive got some bass patterns with the velocities of each 3 16ths ramped up, but I just don't want to accidentally tweak a kick synth's decay or something and end up woofing the bassline to hell. Any ideas welcome, and Id love to know others' techniques for handling this sort of situation. Other than velocity ramping of course.
.
aciduss
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Posted : Aug 20, 2011 17:28
You can use free vst s(m)exoscope to watch if kick and bass collide.
Also, imho sometimes kicks larger than a 16th measure can sound good as long as bass is sidechained or good EQ. Long kicks are more boomy and deep, cool for prog.
