Sounds like you found a limit to the value of feedback.paravrais wrote:(constantly getting grief in the feedback threads for having dry snares but it sounds way better that way!!)
Some things are just taste. This spaghetti sauce is too sweet, no it's not sweet enough. You're the only one who can judge that.==
Can be used for everything. I like to use noisy/resonant/sustainy sounds that can all stack up on top of each other producing mud. Combine that with pads, and or beds, and you can be in split pea soup really quick. Now, maybe you like the swamp, just that hot mash of frequencies, but you still want some clarity and punch to your rhythmic elements. Just sidechain them, but don't do it so dramatically that you can obviously hear the sound being sidechained pumping, just take some db off. And take it off a bunch of sounds that are all adding up. Do it with a compressor that can do a quick enough release without breaking up.naus wrote:nowaysj wrote:SIDECHAINING Always knew it was there, just thought it was about pumping. But I've been up in that bitch like a mofo.
Please enlighten me..... I dont use it because i thought it was only about kick n sub etc...what eles can it be used for?
Btw, your mind is sidechaining the fuck out of everything anyway. Louder sounds will mask out other simultaneous sounds. So, if the mind is already masking out sound, just do the same and actually let your speakers take a break and produce some clean tones, if only temporarily.
So, blah blah blah. A typical example: maybe you have a sustainy snare, maybe it's got reverb on it, maybe even delay. And you have a conga hit that follows pretty soon after the snare. You don't want the sustain of the snare to have to end to make space for the conga, so just sidechain the snare tail with the conga. That way as the sidechain releases, the snare tail can come back up and the conga tail can mesh into one fuzzy little space, but the actual conga hit can have enough impact to actually put that pulse in the beat that you want there.
neway
