bass/kick comp sidechaining example ?

[LeSedna]

Hello,

I'm getting a bit more deeply into sidechaining, and I'm trying to have a good bass comp-triggered by a kick.

I find it quite easy to do on a flat electro bass. But I have no example of what an efficient comp sidechained on a real bass would do.

When I really hear the impact, it's obvious the kick is revealed, but it's already too destructive on the bass, and before that limit, I can't really hear any improvement.

Do you have any good example, or can you make one ? So that I can hear what I have to reach.

Thanks !

 

[ahjteam]

Don't pump it too hard, 3dB max

 

[LeSedna]

I think I've pumped it really more, with a very fast attack and something around a 50ms release. Do you really hear it clear when it's -3dB or is it only a way to open a hole in the mix ?

 

[Unavailable]

I think I've pumped it really more, with a very fast attack and something around a 50ms release. Do you really hear it clear when it's -3dB or is it only a way to open a hole in the mix ?

Yeah, I've never used the method, but I don't think you're actually supposed to hear any difference other than the kick having a little more of its own space in the mix.

 

[ahjteam]

I think I've pumped it really more, with a very fast attack and something around a 50ms release. Do you really hear it clear when it's -3dB or is it only a way to open a hole in the mix ?

You don't want to hear it and neither do the listeners, because its really distracting and fatiquing on the long run. It's main purpose is to make room for the kick in the soundscape and usually 1-3dB is enough just to barely cut thru the mix.

Try this: duplicate the bass track, highpass the other at 400hz and lowpass the other at 400hz and then duck only the lowpassed track so you will only duck the bass area

 

[brandy]

I never had that much success with this - at least not in a metal scenario. It can be cool when you carefully set the release and if the gainreductions is just a db or two, max 3 (as stated above). But that:

Try this: duplicate the bass track, highpass the other at 400hz and lowpass the other at 400hz and then duck only the lowpassed track so you will only duck the bass area

sounds like a good idea! Will try that out ASAP!

Brandy

 

[LeSedna]

Thanks for the explanation.

Your idea of cutting the bass track in 2 seems to be a good one. I'm gonna try this too.

 

[fade_2_black]

Ive never really played around with this but have always thought I should try it sometime - I havent really had too much need for it in the past as Ive been happy with my bass/kick mix. But I might try it and see if it makes an improvement, the duplicated bass track sounds like a good idea!

 

[Fox Mulder]

You don't want to hear it and neither do the listeners, because its really distracting and fatiquing on the long run. It's main purpose is to make room for the kick in the soundscape and usually 1-3dB is enough just to barely cut thru the mix.

Try this: duplicate the bass track, highpass the other at 400hz and lowpass the other at 400hz and then duck only the lowpassed track so you will only duck the bass area

I'm more likely to key it rather than ducking it.

 

[ahjteam]

I'm more likely to key it rather than ducking it.

That comment makes no sense. In my books when talking about sidechain compression ducking means same as keying.

 

[Fox Mulder]

That comment makes no sense. In my books when talking about sidechain compression ducking means same as keying.

Lol I was trying to implicate that there's a difference between keying a compressor and ducking the volume.
I'll upload some screenshots of that in Pro Tools along with a little more explanation when I get the time.

Cheers!

 

[doclegion]

Good for bass drops also