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Kick overlaying bass problem ... ?!
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willsanquil
IsraTrance Full Member
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Posted : Nov 7, 2011 01:38
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Nevermind, Colin sorted me out. If anyone else is interested, in Ableton you route audio into the channel where your Pro C or Volcano is, then under the "audio to" box you should see your Fabfilter.
So, in the example of sidechaining kick/bass, you insert Pro C on your bass channel, send your kick to an aux send (pre fader), route that send to the bass channel and then under the audio to, select the pro c.
Thanks again Colin!
  If you want to make an apple pie from scratch...you must first invent the universe
www.soundcloud.com/tasp
www.soundcloud.com/kinematic-records |
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Equilizyme
IsraTrance Junior Member
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593
Posted : Nov 7, 2011 07:45
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@willsanquil - do you find that FabFilter is significantly better or inspires you to do more unique things than other filters? I have been reading about it and watching some demos online. Can you quote me a few cool things it can do that are not achievable with standard ableton filters and convince me to invest? I am in the market for new toys....
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http://soundcloud.com/equilizyme
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willsanquil
IsraTrance Full Member
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Posted : Nov 7, 2011 09:08
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I won't say I've used every digital filter/eq out there - but I've used quite a few and I love the FabFilter line of products - especially Pro-Q.
The best feature by far for Pro Q (newest version only) is the ability to hear what you're cutting.
For instance, you're cutting out the lows - you set a fabfilter point to low cut, and there's a little headphone icon next to the point - you click that and now instead of hearing the whole signal you *only* hear what you're cutting from the low end. This makes taking out unnecessary information much quicker and more accurate and I use it....every day, in every project, and almost on every track.
Ableton's EQ can't do that.
Oh, and you have a frequency spectrum right on your EQ interface as well, which Ableton's doesn't do.
Those are the two major features that sold me on it over Ableton's EQ - and I've been a naughty boy and downloaded all the other top of the line EQs and stuff to try them out...but I always go back to FabFilter. I like the look of it, its controls are intuitive - and to me it sounds great.
There's my sales pitch!
If you want to make an apple pie from scratch...you must first invent the universe
www.soundcloud.com/tasp
www.soundcloud.com/kinematic-records |
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zabot
IsraTrance Junior Member
Started Topics :
25
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174
Posted : Nov 7, 2011 16:33
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try to down the velocity of the first note of the bass ... works for me ;)
thoughts become things
www.soundcloud.com/zabot |
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PoM
IsraTrance Full Member
Started Topics :
162
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8087
Posted : Nov 7, 2011 17:15
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Quote:
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On 2011-11-06 21:44, Equilizyme wrote:
I find that most good psykicks have a giant hole in them around 500-1000 Hz,
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thats cause you use giant muddy kicks |
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PoM
IsraTrance Full Member
Started Topics :
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Posted : Nov 7, 2011 17:48
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dont forget guys it s possible to make amazing bassline even playing on top of a kick... sure it will need more work it s way more tricky to get it right but open a lot of room for creativity .
i would say a good kick bass like this , just that,if it s well mixed can make you sound different than the 90% of psytrance artists and everyone will wonder how tricks you used to get a so rocking bassline if it s well done ,we got the prouf already here in the past in some threads.
personaly i stoped using bassline on top of kick since i started to read this forum long time ago as it s way more easier to get a clean sound wihtout but it don t let much room for creativity.
it s a totally different process of production technics... it make me wonder why there is absolutly no creativy and evoltuion in psytrance bassline.. come on guys bring new stuff, dunno ,layer 808 kicks, layer toms..try new things, you re not bored to sound all the same? |
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Equilizyme
IsraTrance Junior Member
Started Topics :
19
Posts :
593
Posted : Nov 7, 2011 20:00
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Galaxy Machine
IsraTrance Junior Member
Started Topics :
15
Posts :
170
Posted : Nov 8, 2011 02:13
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PoM
IsraTrance Full Member
Started Topics :
162
Posts :
8087
Posted : Nov 8, 2011 02:45
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Quote:
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On 2011-11-07 09:08, willsanquil wrote:
Those are the two major features that sold me on it over Ableton's EQ - and I've been a naughty boy and downloaded all the other top of the line EQs and stuff to try them out...but I always go back to FabFilter. I like the look of it, its controls are intuitive - and to me it sounds great.
There's my sales pitch!
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agree,i love fabfilter gui ,their synth twin is very underrated probably cause of the presets..it was my go to synth when i replaced my virus, it can do some amazing psy leads |
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Galaxy Machine
IsraTrance Junior Member
Started Topics :
15
Posts :
170
Posted : Nov 8, 2011 02:47
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So basically you can
- use any channel
- add in compression plug- in or ANY other vst
- activate side-cahin feature
- assign side-chain to any channel.
But for psytrance it is important to seperate bass-kick, so at least this might be possible considered a standard
The tutorial from Psy Tuts
http://www.psytuts.com/kick-and-bass-sidechain-compression/
Is using a group channel track, which i found complicated, dunno why they suggest a group channel track for this.
This technique seems to be related to parallel compression
Parallel compression, also known as New York compression, is a dynamic range compression technique used in sound recording and mixing. Parallel compression, a form of upward compression, is achieved by mixing an unprocessed 'dry', or lightly compressed signal with a heavily compressed version of the same signal. Rather than bringing down the highest peaks for the purpose of dynamic range reduction, it reduces the dynamic range by bringing up the softest sounds, adding audible detail.[1] It is most often used on stereo percussion buses in recording and mixdown, on electric bass, and on vocals in recording mixes and live concert mixes
The method can be used artistically to "fatten" or "beef up" a mix, by careful setting of attack and release times on the compressor.[3] These settings may be adjusted further until the compressor causes the signal to "pump" or "breathe" in tempo with the song, adding its own character to the sound. Unusually extreme implementations have been achieved by studio mix engineers such as New York-based Michael Brauer who uses five parallel compressors, adjusted individually for timbral and tonal variations, mixed and blended to taste, to achieve his target sound on vocals for The Rolling Stones, Aerosmith, Bob Dylan, KT Tunstall and Coldplay.[5] Mix engineer Anthony "Rollmottle" Puglisi uses parallel compression applied conservatively across the entire mix, especially in dance-oriented electronic music: "it gives a track that extra oomph and power (not just make it louder—there's a difference) through quieter portions of the jam without resorting to one of those horrific 'maximizer' plugins that squeeze the dynamics right out of your song."[6] While parallel compression is widely utilized in electronic dance music, "side-chain" compression is the technique popularly used to give a synth lead or other melodic element the pulsating quality ubiquitous in the genre. One or more tracks may be side-chained to the kick, thereby compressing them only when the beat occurs. http://en.wikipedia.org/wiki/Parallel_compression
SpaceAlpha - http://soundcloud.com/galaxy-studio |
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Galaxy Machine
IsraTrance Junior Member
Started Topics :
15
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170
Posted : Nov 8, 2011 04:34
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When side-chaining, the compressor uses the volume level of an input signal to determine how strongly the compressor will reduce the gain on its output signal. This is used by disc jockeys for ducking – lowering the music volume automatically when speaking. The DJ's microphone signal is routed to the compressor's sidechain so that whenever the DJ speaks the compressor reduces the volume of the music. A sidechain with equalization controls can be used to reduce the volume of signals that have a strong spectral content within a certain frequency range: it can act as a de-esser, reducing the level of vocal sibilance in the range of 6–9 kHz. A de-esser helps reduce high frequencies that tend to overdrive preemphasized media (such as phonograph records and FM radio). Another use of the side-chain in music production serves to maintain a loud bass track without the bass drum causing undue peaks that result in loss of overall headroom.
A linked stereo compressor without a sidechain input can be used as a mono compressor with a sidechain input. The "key", "trigger" or sidechain signal is sent to the left input of the stereo compressor while the signal that is to be compressed is routed through the right channel.
This technique is not to be confused with Parallel compression, which was referred to as "side chain" compression in a 1977 Studio Sound article by Mike Bevelle.
http://en.wikipedia.org/wiki/Dynamic_range_compression#Side-chaining
SpaceAlpha - http://soundcloud.com/galaxy-studio |
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Equilizyme
IsraTrance Junior Member
Started Topics :
19
Posts :
593
Posted : Nov 8, 2011 06:24
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PoM
IsraTrance Full Member
Started Topics :
162
Posts :
8087
Posted : Nov 8, 2011 18:11
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i m lusting the full bundle since years ,great bread and butter plugins...could be my go to comp, go to gate,go to eq,go to limiter,the delay is good too...the eq sound nothing special its just one more digital eq but the hp/lp are good and the interface and flexibilty make it really better than the competition for me as a go to clean eq.
i could say the same about their comp, it don t sound special but the flexibily and interface make it a great plug to use. |
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Grevinsky
IsraTrance Full Member
Started Topics :
75
Posts :
685
Posted : Nov 10, 2011 15:00
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On 2011-11-07 01:38, willsanquil wrote:
Nevermind, Colin sorted me out. If anyone else is interested, in Ableton you route audio into the channel where your Pro C or Volcano is, then under the "audio to" box you should see your Fabfilter.
So, in the example of sidechaining kick/bass, you insert Pro C on your bass channel, send your kick to an aux send (pre fader), route that send to the bass channel and then under the audio to, select the pro c.
Thanks again Colin!
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After you send the kicks signal into pro c at the bass chanel you should tick in the sidechain external button in advanced settings right?. that button is not pressable for me. Have any idea what could be wrong?
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http://soundcloud.com/mechanical_species |
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Galaxy Machine
IsraTrance Junior Member
Started Topics :
15
Posts :
170
Posted : Nov 14, 2011 08:19
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Quote:
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On 2011-11-10 15:00, Grevinsky wrote:
After you send the kicks signal into pro c at the bass chanel you should tick in the sidechain external button in advanced settings right?. that button is not pressable for me. Have any idea what could be wrong?
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Do you have an audio kick track? I had sound issues when using midi + group channel setup with Bazzism. When you have midi, use the Vst efffect panel to set the sidechain.
SpaceAlpha - http://soundcloud.com/galaxy-studio |
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