I want the listener to feel both,” says producer and Gobstopper Records head Mr Mitch. “I like subby kicks with not much high-end so they often sit in the same frequencies as the bass sounds. The exact process of channel routing varies in each DAW, but once you have this set up, you can play around with the compressor’s settings to achieve your desired effect. To automate this and connect the two elements, in the compressor settings on your bass synth select the ‘sidechain input’ (sometimes called ‘key’) as the channel with the kick to ‘route’ to it. To give space for the kick to drive the track, you’ll want to ‘duck’ the gain of the bass every time the kick-drum hits. (If you haven’t already, read our beginner’s guide to compression here). If you’ve ever wondered how some people’s tracks have a punchy kick that seems to cut right through the bass, it’s likely they will have used sidechain compression. As well as a problem-solving tool for muddy mixes, it can also be fun and creative. However, I have realised there is more to it.
My introduction to sidechaining was “it’s what they use in EDM to get the pumping effect”, which sounded like the last thing I’d want to do.
0 kommentar(er)
