Haha, thanks a lot for taking the time to comment - glad you liked it. To show my appreciation for you all listening to the track and saying such nice stuff about it, and that some of you have mentioned that you liked the drums and the 'sound', I'll tell you how I did it. Some of the following will be obvious but hopefully they'll be a couple of tricks that might be of interest. Also, if you have any advice on what I’ve said, let me know – I’m always after tricks and tips J
Combinator with machine of choice. Shift insert it to put it in the rack without a mix strip.
Add any effects here. I tend not to. I like my main drums completely dry - maybe I'll add a scream if I want the whole drum sound a particular way but generally I like a dry main feed.
Add two splitters and wire the drum machine into the first and then the first splitter to the second splitter.
Wire the first out from the first splitter into a compressor and maybe maximiser. On this track I didn't even do that with my dry drums.
Then wire another out from the first splitter to another shift inserted combinator. This will be a parallel compressed channel. Put any effects you want in here. I like screams and/or pulverisers to give my sidechain drum feed a bit of bite and character.
Put a compressor after the effect(s) and compress hard - hardish input, low threshold, high ratio, quick attack, I like an adapt release, and a make up gain according to sound/compressor display. Fiddle to taste.
Take another out from the first splitter and add another shift inserted combinator. In this one put a stereo imager, switch to solo hi band and twist the ratio dial to between 2 & 5 khz.
Add an eq and add a bit of gain on the top end
Add a reverb - I used the rv for this but I love the new ubik too.
This is a top tip, I think. This adds loads of sparkle to the drums without creating any muddiness with lots of extra reverb. It gives you loads of control over your reverb. You can also do this sort of thing on other instruments too. I tend to do it to my synths.
Make a new combinator with a mix strip. Put in a mixer as required and feed all your drum combintors into the mixer. This gives you a sub mix for your drums.
Put your top end drums and the parallel sidechain faders to zero then mix them back into the main dry feed from the source drum.
Here's another good tip, I think. The second splitter in your main dry drum feed can be used as an out for either sidechain compression for other elements but it can also be used for dynamic eq control. This took me a while to figure out and I'd be interested to know of alternative ways too. Say you have your bass and your kick going at the same time and you want the bass to move out of the way of the kick and you don't want any sucking. Obviously this can be achieved with sidechaining but here's another way and it’s what I did in this track to move the bass frequencies out of the way of the drums:
In the effects patches, under dynamics, there's a patch for vocals - i think it's called the m-class vocal processor. Built into this patch is a de-esser. The way it works is it takes a signal which it analyses and then uses a compressor to control specific frequencies on an m-class eq. So, when you have a sibilant, an eq gives an evelope to model the frequencies to be altered; a compressor controls the gain on a frequency in an eq; then the eq controls the signal of the instrument. It's easier if you just have a look at it!
What I do is use this same patch to roll off bass dynamically from either a kick or the bass as required. This is sweet. So I take the out from the second splitter put that into the input for the first eq envelope. I then change the eq envelop to react to the bass rather than the 's'es' frequency. Play around with the compressor and the q on the eq to get the effect you want and then you have a fully automated roll off on the drum/or bass depending on which one you want to get out of the way. Of course you can use the same idea to dynamically duck any part of a frequency on any instrument this way. This has taken a lot of the headache for me out of controlling the bass without getting stuck on normal sidechain compression.
I always use the 8band parallel compression patch. I love the sound of this NY compression - big, wide and full. But I make a couple of additions. I add another splitter to the merger at the bottom. Feed two outs to two eqs. The first eq will act as an envelope for the main bus compressor and the second as a final eq. With the first eq, insert that into sidechain input on the master section. I like to lower the bass so the compressor doesn't react to the bass. This way I can avoid pumping. reverse this if you want pumping! My bus compressors tend to barely move and I don't really tinker with them much. But it produces a lovely silky finish. Then I wire the master section into an ozone and then that back into the main out. This gives me final control over the whole finish.
Hope some of that helps. Some of it’ll be obvious to you but hopefully they’ll be something of interest. If you have any questions or suggestion on how to improve this for me – let me know.
Last edited by snakeofjune; 2012-11-06 at 12:55.