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Is it really necessary? Well I know everything is necessary if used correctly. I guess what I'm trying to ask is does it make enough difference in your dubstep tracks to really go through the trouble of routing everything to the appropriate auxiliaries?? I can easily tell with trance, techno, and house because the side chaining can pulsate immediately following the kick, but dubstep is a little different. If its working well for anyone, where are you routing it to and let me hear a track you've used it on. Thanks

I sidechain my kicks to my sub so that they don't get in the way of my sub. These kind of threads belong in the Production forum btw

LumiNiscent wrote:I sidechain my kicks to my sub so that they don't get in the way of my sub. These kind of threads belong in the Production forum btw

Gotcha I'm kinda new here and was looking for where I should post this. I'll hit up that area. Thnx for the advice

i side chain so much.. its great and very effective really brings things through the mix (on fruity anyway) couldn't produce really without it.

Whats this side chaining you speak of?

Be-1ne wrote:Whats this side chaining you speak of?

Compressing one signal based on a second input signal

Ex: The pumping effect in a lot of house music is a synth routed to a compressor which is compressed when the kick hits. The release is long enough to pump back up to the initial volume.

I sidechain my subbass, and maybe the midrange bass. Also sidechained a pad I have on a track I'm working on.

2 tunes with a veryvery good use of sidechaining,breakage one is just sublime in my opnion.

Only when you are unable to carve frequencies enough without losing too much.

sidechain compression can be , and is most of the time, done in a subtle fashion...

in traditional pop mixes it will be used on the bottom end of vocals or on effect sends and shit... to make room... it can be used for other things then to pump and breathe...

it can even be used to reverse-compress some shit.. odd stuff out there...

try to listen for compression that doesnt seem to come from the mere attack, release settings u achieve normally.. and itll all appear to u! well.. not all but still

ive always wondered when it comes to sidechain compression, what knob are people usually "pumping" ? or sidechaing... the ratio? wet/dry ? threshold?

you lower the threshold until the aux signal being processed.
raise your ratio to suite.
modify attack and release to get it just right

lloydy wrote:

2 tunes with a veryvery good use of sidechaining,breakage one is just sublime in my opnion.

Corrrr, that Breakage remix is pretty fucking lovely isn't it

i love using it for the pumping effect in some tracks, otherwise i focus on regular eqing and normal dynamic effects as it's kind of a cheap cop out to proper eqing and such

LumiNiscent wrote:I sidechain my kicks to my sub so that they don't get in the way of my sub. These kind of threads belong in the Production forum btw

In that case, is it still necessary eq the kicks? Like, i usually cut the kick freq below 70-80hz just so it wont conflict with the sub. But if i apply sidechain should i just leave kick as it is?

yes, that`ll be fine.
But you also don`t want your kick to boom and be messy.

deadly habit wrote:i love using it for the pumping effect in some tracks, otherwise i focus on regular eqing and normal dynamic effects as it's kind of a cheap cop out to proper eqing and such

This man speaks the truth

I use it mainly for making the snare really punch through the mix.

naw it isn't necessary. but it can be cool.. i sc pads to give them more movement.. and not to the kick drum. I sc reverbs' output sometimes if its a long tail.
All that "excessive routing to aux's" u speak of is really stupid easy though, so if u wanna use it, it shouldnt be a problem. You put compressor on track... set sc signal to a bus, then send the control signal to that bus via one aux send. then fuck with settings til it pumps satisfactorily

Like others have said, I like to use sidechaining to keep the kick and sub out of eachother's way. I also use bus compressors on sounds and let the amount of the bus on each track dictate how much it cuts thru the mix in relation to the other sounds running off the same bus compressor. Works excellent on drums and sometimes negates the need for parallel/nyc compression