Your favourite : Sidechain compressor + settings

[deadly_habit]

http://www.toneprojects.com/products/plug-ins/compadre/

settings i'm not posting

[didi]

How do you connect parametric eq 2 to the kick. (Not really comfortable with the peak controller).

• Set peak controller on the kick (and uncheck the mute button)
• On Parametric EQ2, right click on the freq fader you want to control (lets say the purple one). Link to controller > from the drop down menu select the Peak Ctrl - Peak.
• Set it to 1-Input to invert the diagonal line thingy.
• Now adjust the base knob on the peak controller and you'll notice the parametric eq2 curve adjusting itself.
• Play the kick, and it'll start to drop down whenever the kick hits. Adjust the base and vol knobs on the peak controller to get the effect you want.

Seriously helpful. Cheers wub.

[wub]

wish i had thought about these things when i was on fl :O a case of rtfm i guess

ive always been very unaware of typical attack times in sidechain compression on a letssay bass, triggered by a short sound with lots of transient, eg kick ..

do u always leave the attack to zero?

No - it entirely depends on what sort of effect I want to achieve.

[Today]

if you want it to duck immediately out of the way of the kick drum, zero attack would be most effective
A lot of times though, a longer attack makes for good movement, for other applications

[Ldizzy]

what my ears tell me but my mind keeps tellin me it defeats the purpose of pumping with a kick drum...

ill be more creative then

[Today]

what, using zero attack?

[Ldizzy]

yeah, kinda like, as soon as the kick punches in (well tbexact ... as soon as its attack reaches threshold), it kicks in.. so the kick has maximum room for its transient..

something weird or illogical in that ? (question asked with a real, genuine, open-minded, discussion-oriented doubt)

[Today]

no, i think you're correct.
usually when i duck something to my kick i use zero attack and a quick release.. that way it does the job of making room for the kick, while still sounding tight and subtle.. not really in your face.

When you raise the attack and/or release, it makes the effect more noticeable because the compressor pumps with the kick but slightly delayed, and/or for a longer time

If i'm ducking bass to the kick, i want it to be tight and barely audible.. but if its a pad or effect, reverb, or something that i want it to be more dramatic.. looser, longer, and deeper ducking. so i'll use higher ratios, longer attack and release.

[Ldizzy]

i feel u

[Eat Bass]

good thread. cleared up a couple things for me.

as for me i used to use reasons compressor, but now i use logics compressor. seems to work just fine for me...in fact i like it much more than reasons.

[Today]

mClass stuff... idunno. it was all i had for a long time so i felt it was doing the job just fine. You feel that way 'til the first time you get to use other shit.
The stereo imager is one device that i still think they got right. The separate output in the back, the solo hi/low band, and the different spread setting for each of the two bands, are all really good features that my higher end plugins don't have (unless i go crazy duplicating tracks or routing them all over the place to get the same result).

[Eat Bass]

mClass stuff... idunno. it was all i had for a long time so i felt it was doing the job just fine. You feel that way 'til the first time you get to use other shit.
The stereo imager is one device that i still think they got right. The separate output in the back, the solo hi/low band, and the different spread setting for each of the two bands, are all really good features that my higher end plugins don't have (unless i go crazy duplicating tracks or routing them all over the place to get the same result).

i agree man i said i used to use reasons compressor and didn't like it much. i now use logics and think its a joy to work with compared to reason. i can actually get some punch and loudness out of it when i want to, unlike reasons which didn't seem to change much or it would squash the shit out of things. but then again i don't know how to use a compressor that well ether so that was probably the problem haha.

[tragiclifestories]

I just use whatever the built in one is in any given application. Too much hassle/latency issues otherwise. at the moment, that'd be the fruity limiter (along with peak controller for ducking bass frequencies every now and again).

[komanderkin]

for some reason i've had the most success with this pretty basic freeware plugin called sidechain compressor by slim slow slider. it's nice and compact, lets you monitor gain reduction and it takes like 1% cpu.

someone mentioned visualizing sidechain compression on the first page. theres a great tool for that called oszilos megascope. check out the best free oscilloscope plugins list on my blog, theres a dl link and a nice tutorial. cant link it here now as im on mobile.

[Today]

most comps i've seen graphically display gain reduction. and a couple have sidechain inputs... so there ya go
RComp has visual aid

[Eat Bass]

can anyone comment on the quality of logics stock compressor? should i look into getting a 3rd party or is logics fine? id rather not spend the money if logics is good.

it seems to be doing its job just fine to me but i still would like some other opinions.

[Ldizzy]

logic is known to have very very decent stock plugins...

third party plugins are always a nice addition if you know HOW to use them... and what for...



i wouldn't change my methods if u feel comfortable with it

[nowaysj]

Don't forget there are two uses for sidechain compression, for fx, and for actual more surgical mixing. Both are going to go to taste, but for the fx, usually zero attack, and an extreme ratio, and then setting the level of gain reduction to taste.

Also a moral argument for sidechaining in surgical mixing and fx mixing as well, when two sounds occur at the same time, your brain will remove one of the sounds, a process called masking. You can test this by tapping a pencil to the beat of a metronome, when you actually precisely tap the pencil at the same time as the metronome, either the pencil strike or the metronome tick will disappear completely, it is a sort of sonic blind spot. SO, if this process is happening within your brain anyway, why not do the same thing within the mix, retaining more control over the limited medium of recording and reproduction which nowhere approach the capabilities of our ears or brains.

Juzza thought. Try it out at least.

Sidechaining is not a weakness or a compromise. At least it doesn't have to be. If you just sidechain everything, and call it mixed, well, that has stylistic implications, but in terms of actual clinical mixing, there is much more that you should be considering before you begin sidechaining, but that doesn't mean that sidechaining in of itself is durty. Again, juzzathought.

[Today]

If you just sidechain everything, and call it mixed, you are FlyLo

lol jk