Random Production Thoughts (lol what colour is my drum bus)

#1215

Pls rip and share for the fb-allergic

:pray:

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#1216

Gave TDR SlickEQ a try. The thing sounds niccccce

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#1217

@cyclopian

So you have one of these?

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#1218

nah, my friend does tho, its a fun one

also, Tom Oberheim lives about 5 minutes from me. Always hoping I see him randomly someday.

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#1219
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#1220

What a goof. Looks like a fun module tho.

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#1221

figured out some metro booming shiz

you have two identical piano sounds
1 is what you want it to sound like
2nd is just with reverbmix on 100% running lower vol in the mix

*its spefically nexus reverb that sounds like his sound i noticed

#1222

That thing would be cool if it could make a snare sound.

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#1223

isn’t this just the same thing as using a send/bus for fx? (parallel processing)

this is how fx should be done 90% of the time imo, much better control and way easier to mix

very rarely use insert fx these days

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#1224

Whuuurt?
:neutral_face:
So you don’t add the FX to the main sample?
You FX a duplicate track at 100% wet then adjust the volume of it to taste?

Also why does everything keep telling me to sidechain my kicks to the bass?
Maybe I don’t want the bass to duck out when the kick hits. Surely sample selection and good EQ’ing is a better option?
Sidechaining = lazy?

#1225

Not always

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#1226

I agree, send FX is easier. Unless if you want some weird vocals…

#1227

you can unique stuff with sidechaining because you can trigger with a threshold

its lazy if you just use it for one sort of ‘pump’ feel

but you can use it to calm down effects in complex fashion
like triggering bits going into a reverb so it cuts one reverb tail but allows another and so on

endless sound possibilities designing with sidechain

i sound like picard now

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#1228

That’s what I was getting at. Everything I read says sidechain your kick to the bass.
And it just seems lazy and generic to me.

I don’t really know about any of the other stuff you mentioned. I don’t know sidechaining.
Sounds cool though.

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#1229

oh i know my dude

i sort of ran into it producing
its not a truly covered aspect of producing

youd have to trust an outside source like myself ’

but think super controlled washy fx sounds
those can be ‘gated’ or calmed via complex sidechain

but when someone relates it to bass you have to know what they want from it, coz it sounds tired as you know

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#1230

You don’t have to do that and you certainly don’t have to do it in a clearly perceptible way.

You can have a distinct, coherent bass/kick interplay instead of a “generic” phat pumping sound you’re probably thinking of if you just adjust it right. You won’t notice the kick sucking up the focus of the track, it’ll just nudge the bass out of the way at the right time in a way that makes the different elements distinct to your brain.

In general sends/buses and sidechains are absolutely the way instead of hand sculpted, automated insert settings. That approach to mixdowns is a house of cards-style balancing act thats incredibly tiresome and distracting imo.

For example I like to set my buses up in a way where the kick pulls the track towards the center of the image a tiny bit, so I sidechain all wide subtle reverb sounds to the kick, especially the low ones that are close to the kick in frequency. These sounds hang in the back anyway, its not a big flashy woosh of the kick sucking up the whole sound, its just something to tip the attention towards the kick subtly as it hits. It’s just less confusing for the ear.

Theres nothing lazy about this technique. In general, setting up a track where elements automatically plug into and respond to each other is a way way better technique than scultping out the movements of everything individually.

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#1231

I think I prefer to handsculpt everything at this point as I’m still learning, so a large degree of “hands-on” is beneficial for me to understand how what I do affects the sounds rather than sends et al sort of automating everything.

Either that or I’m too scared to get stuck in because I don’t understand ANY of it

:anguished:

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#1232

continuing lol

like one way I sometimes do this for UK type stuff with a prominent bassline is

Bass synth track with a send to a bus that hipasses it off at like 80hz, widens and distorts it to give some low-mid warmth and presence, heavily side chain THAT sound to the kick, then feed that bus into another bus together with the clean bass signal thats also sidechain compressed to the kick, but just ever so slightly. So the bass gets a lot lower in the sides and low-mid distorted sounds when the kick hits, but retains most of the proper low end punch at all times. This isn’t even a perfect technique or anything but the point is, don’t restrict yourself too much by thinking of nice techniques as “lazy”, just do em and see how it sounds.

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#1233

I didn’t realise ANY of that. The way it’s always been presented to me in the things I’ve read is; you sidechain the kick to the bass so that the frequencies don’t clash. Which I always thought was lazy, because EQ’ing is very important.

I think the problem is not the technique itself but rather the reasons for doing it.

#1234

EQing is important but DO NOT get hung up on that shit lol, easiest way to rapidly choke the life out of a mix for me.

EQing should also imo be done really quickly and with as few visual tools as you can get away with. Like, slap a preset on and if it sounds good, just leave it and move forward. Use single band EQs that are just a knob with no frequency response visuals before you draw for the graphic eq.

Balancing your mix is also important but like literally all commercial music does little tricks of elements being adjusted at different times like this. When a new element comes in, it needs to be very clear but your brain can keep track of it at a lower volume once its been introduced already. “Cheating” with tools that change levels at different times instead of having a masterful house of cards balancing act of a mix is pretty much essential imo

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