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Is it important to use "sidechain compression" in your mix?!.. (pg. 2)
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| paulc_dj |
| quote: | Originally posted by Dj Thy
Compressor on the reverb, vocal into the sidechain. Adjust attack and release as to avoid pump effect (in other words, fairly fast times). |
Sorry, I am not an expert (yet). I am an FL6 user and would appreciate it if you could run through step by step, so that I can learn how to do it. Do you mean simply putting a compressor after the reverb on the list of fx in the fruity fx channel? Or is it a little more complex than that. And how do I "put" the vocal into the sidechain? I will be using waves c1/sc for the sidechaining, unless you can think of anything that you would recommend better.
PC :tongue2 |
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| thoughtlessjex |
| quote: | Originally posted by moth
Certain sounds we make with our voice such as the 'Ess' and 'Shh' sounds create high peaks when recording. This is because we make these noises with the tip of our tongue and teeth, which are closer to the microphone. |
Please, if you know nothing about phonetics, don't pretend to. The only difference between s and sh is that sh is further back on the alveolum. (Don't believe me? Try to make an sh with just your teeth. Record that and a normal sh, and look at the sonograms. QED) The loudness is not due to proximity to the mic (if it were, f and th would be louder), but rather due to the nature of the turbulence between the tongue and the alveolum. It's just a louder part of the mouth.
Kinda makes you wonder why the loudest fricative is also the one we use to tell people to be quiet.
The Cunning Linguist srikes again.
| quote: | | Sorry, I am not an expert (yet). I am an FL6 user and would appreciate it if you could run through step by step, so that I can learn how to do it. Do you mean simply putting a compressor after the reverb on the list of fx in the fruity fx channel? Or is it a little more complex than that. And how do I "put" the vocal into the sidechain? I will be using waves c1/sc for the sidechaining, unless you can think of anything that you would recommend better. |
For Floops, you put a peak controller on the vocal track, base at max, volume somewhere between 5 and 9 o'clock, and then use that out put to control the reverb's mix volume. |
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| richg101 |
if i knew how to apply it then id use it in every production.
a kick uses some of the same frequencies that a bassline does. and you dont want them to be both actin at the same time. it eats loads of headroom. bass always interfers with the kick so imo its necessary for a true pro/clean low sound. |
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| mysticalninja |
| quote: | Originally posted by Dj Thy
Compressor on the reverb, vocal into the sidechain. Adjust attack and release as to avoid pump effect (in other words, fairly fast times). |
What sequencer do you use? Do I need to apply a compressor on the reverb alone? Like on an FX channel? |
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| Dj Thy |
Depends, in Logic and Protools for example, the basic compressors can do this, as the routing in those programs is fairly complete (and the plugins can listen to an external input). In Cubase/Nuendo you need to use little tricks, or plugins that can circumvent the routing limitations (TC native comes to mind).
But basically yes. You put the compressor on the effect return (the channel where the effect resides, usually an aux in logic/protools or FX channel in Cubase/Nuendo). Then you need to route your "trigger" signal to the sidechain (sometimes called key) input. |
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| paulc_dj |
| quote: | Originally posted by thoughtlessjex
Please, if you know nothing about phonetics, don't pretend to. The only difference between s and sh is that sh is further back on the alveolum. (Don't believe me? Try to make an sh with just your teeth. Record that and a normal sh, and look at the sonograms. QED) The loudness is not due to proximity to the mic (if it were, f and th would be louder), but rather due to the nature of the turbulence between the tongue and the alveolum. It's just a louder part of the mouth.
Kinda makes you wonder why the loudest fricative is also the one we use to tell people to be quiet.
The Cunning Linguist srikes again.
For Floops, you put a peak controller on the vocal track, base at max, volume somewhere between 5 and 9 o'clock, and then use that out put to control the reverb's mix volume. |
Can u explain this a little bit more step by step please? I am still not exactly sure how to use Peak controllers yet. Also could you use this to get the ducking effect as well?
Cheers!
PC :tongue2 |
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| Thois |
| quote: | Originally posted by paulc_dj
Can u explain this a little bit more step by step please? I am still not exactly sure how to use Peak controllers yet. Also could you use this to get the ducking effect as well?
Cheers!
PC :tongue2 |
yes this can be used to achieve the ducking effect
a few months ago there was a good tutorial about how to achieve the ducking effect using the peak controller in fl, I'm too lazy to search for it, sorry! |
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| thoughtlessjex |
To explain the peak controller kind of requires to have one there. Personally, I learned how to use the peak controller from the FLS tutorials. Check them out in the browser window. The basic tutorial is bull. Just follow along with the advanced tutorial, and you'll get a very good grounding.
This is a very important skill for Floops users to learn. I use it in practically every production. |
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| paulc_dj |
Cheers man, I'm checking the tutorials as we speak!
PC :tongue2 |
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| PDM |
| I got Waves C1, is pricey yes, and is really good for multiple suties, but I have never figured out how to sidechain with C1, any pointers? |
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| DJFreaq |
doesn't peak controller = limiter?
or am I wrong, I use Waves L1 on basslines from time to time if I want extra crunchy (crunchier than what a compressor can provide)... because it controls the maximum peak of that sound.
screen shot of L1:
I could be totally wrong, but that's what I have been taught at the AI, and what I have learned from personal experience.
I'm I being overkill, or am I just bored? |
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