Author Topic: How fine grained do you usually get with sidechaining kicks/snares?  (Read 1635 times)

Khron1k

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Going through tutorials, it seems like there are two ways of going about using a sidechain compressor:

1) Individually add a sidechain compressor to each component that needs one. Mr. Bill seemed to go this route in his videos.
2) Run everything that needs to have a sidechain through a single channel/bus/group, and then just add the sidechain compressor there. Virtual Riot seems to go this route in his videos.

For folks that have been producing a while, which do you prefer and why?

toughenough6

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Re: How fine grained do you usually get with sidechaining kicks/snares?
« Reply #1 on: March 18, 2016, 04:24:21 pm »
I'll individually sidechain elements that are actually different.

However, if I'm layering a few sounds for a lead or a chord or something, I'll just bus those.

So if I'm sidechaining my bass and my lead at the same time, those are sidechained differently. If I'm sidechaining the bassy part of my lead and the higher part of my lead, I'll just bus them.

Khron1k

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Re: How fine grained do you usually get with sidechaining kicks/snares?
« Reply #2 on: March 19, 2016, 07:48:46 pm »
Awesome, thanks! Yeah I think I have found myself gravitating towards a very similar workflow :)

RylanT

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Re: How fine grained do you usually get with sidechaining kicks/snares?
« Reply #3 on: March 19, 2016, 10:08:47 pm »
I sidechain my sub a lot heavier than I do other layers, and some leads I don't sidechain much at all.
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Slizz

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Re: How fine grained do you usually get with sidechaining kicks/snares?
« Reply #4 on: April 06, 2016, 03:06:18 pm »
It should depend on whatever element of your track is the focal point. Mainstream Dubstep is all about bass and in your face snares and snappy kicks, so naturally virtual riot is going to practically mute everything that occupies the same core frequencies as the snare when it hits. Otherwise the snare buries itself, which ruins the groove when the kick drum is playing second fiddle to sub bass in the lower frequencies - the snare and the transiet of the kick are the only thing carrying the rhythm, so mid to high range instruments need to duck out of the way to let them keep time.

Mr Bill is making kind of sound engineer wankery stuff, which is cool but it explains his approach to sidechaining.

Think about your song. Is the kick the most important element, is it the snare, or the synths? whatever you want to stand out above all else should, and you then approach side chaining from that perspective. Sometimes it's less about making your snare the only sound in the track for that split second and more about giving your drums a tiny bit of room to breath but letting your synths remain the focal point of the track.