Quote from: Yens on January 08, 2016, 02:17:39 pm

Quote from: TeeBee on January 08, 2016, 02:12:36 pm

Quote from: Mat_Zo on January 08, 2016, 08:25:39 am

Quote from: TeeBee on January 08, 2016, 08:00:03 am

Quote from: Xyroid on January 08, 2016, 06:17:51 am

I don't know how to mix the kick and subbass

What I'm doing is I'm using the sidechain compression method

How about the EQ? from what hz range should the kick be where it doesn't clash with the subbass, or how should the subbass be eq'd

As Mat mentioned,really quick sidechaining , but that isn't always getting good enough results .The best way I find is actually cutting a hole in the element I want ducking and tailoring the volume curve to the curve of the kick/whatever I want prominent for that split second .I also look at a bus with both sources going to that and make sure I manage to keep the volume about the same as when the kick/snare goes by itself to maximise headroom overall .A loud,punchy mix is made on the channels,not the master .-TeeBee

Do you have any tips on getting rid of sidechaining clicks? this is something thats always bugged me

-This is why I came up with a tually cutting into audio .I find in logic,any volume fade shorter than 16 actually creates a click on the file as well btw . the new proc2 has lookahead ,so that one is much less clicky , but the clicks come due to waveforms being drasticly cut beyond the nought line ,a slower attack on the sc comp usually sort this i find anything less than 3ms will get you a click . But then you defeat the purpose of getting the very transient of the sidechain free as it will overlap .A way to do this is to create a silent sc track that is a few clicks off the grid to feed the sc compressor so the 3ms attack hits from that source 3-4 ms early . Do I make sense here ?!?! Hehe

I understand every production related word in this text, but when i put everything together it doesn't really make sense to me. But that's probably because i'm not good in putting theory into practice 

I think he means that he uses a sidechain thats a few ms ahead of the grid. This way you can set the attack time a little bit longer so you don't have clicks, but still have the entire transient freed up.

Quote from: Mat_Zo on January 08, 2016, 08:25:39 am

Quote from: TeeBee on January 08, 2016, 08:00:03 am

Quote from: Xyroid on January 08, 2016, 06:17:51 am

I don't know how to mix the kick and subbass

What I'm doing is I'm using the sidechain compression method

How about the EQ? from what hz range should the kick be where it doesn't clash with the subbass, or how should the subbass be eq'd

As Mat mentioned,really quick sidechaining , but that isn't always getting good enough results .The best way I find is actually cutting a hole in the element I want ducking and tailoring the volume curve to the curve of the kick/whatever I want prominent for that split second .I also look at a bus with both sources going to that and make sure I manage to keep the volume about the same as when the kick/snare goes by itself to maximise headroom overall .A loud,punchy mix is made on the channels,not the master .-TeeBee

Do you have any tips on getting rid of sidechaining clicks? this is something thats always bugged me

-This is why I came up with a tually cutting into audio .I find in logic,any volume fade shorter than 16 actually creates a click on the file as well btw . the new proc2 has lookahead ,so that one is much less clicky , but the clicks come due to waveforms being drasticly cut beyond the nought line ,a slower attack on the sc comp usually sort this i find anything less than 3ms will get you a click . But then you defeat the purpose of getting the very transient of the sidechain free as it will overlap .A way to do this is to create a silent sc track that is a few clicks off the grid to feed the sc compressor so the 3ms attack hits from that source 3-4 ms early . Do I make sense here ?!?! Hehe