Pro Tools Tutorial - The Art of Side Chain Processing - Music. Tech. Music. Tech. Welcome to a new Music. Tech series. Mike Hillier guides you through today. In broadcast, compressor side- chains have long been used to achieve a ducking effect, reducing the level of the music while the DJ is speaking. This same trick has also been used in music production, for instance to duck a guitar part while the vocalist is singing. In the dance world, especially, this technique is incredibly popular, ducking the instrumental parts in response to the kick drum . This creates a moving rhythmic dynamic, turning even the most static pads into exciting sounds. It also creates more room for the kick drum in the mix, which is why it is so popular in the dance scene, where a strong kick drum is, as ever, essential to the mix. One of the most famous users of this technique is Daft Punk, who use the side- chain of an Alesis 3. Be careful with what you send to the compressor to be pumped though.
We often hear artists sending their entire instrument buss to be pumped through the compressor, when a couple of simple choice elements would make for a far more exciting and interesting sound. Another common trick for side- chain dynamics is to beef up the sound of kick drums with a gated sine wave. This time the kick drum is sent to the side- chain of a gate rather than a compressor. Pro Tools; Sibelius; Media Composer; Store; Learn & Support; Sign In Search Return to menu. Or search the Avid Knowledge Base Popular Searches. A sub- harmonic frequency is then sent to the gate. Now when the kick drum crosses the gate threshold the gate will open, letting the sub- harmonic sine wave through, and then close again once the kick drops below the threshold, ensuring the sub- harmonies are only present at the same time as the kick drum. By carefully setting the attack, hold/hysteresis and release controls on the gate it is possible to shape the amplitude envelope of the sine wave to closely resemble that of a kick. IZotope develops award-winning audio software and plug-ins for mixing, mastering, restoration, and more. Mike Hillier explains the rules in this Pro Tools. Getting To Grips With Gain Staging. Setting up your signal chain correctly before you start recording. Fast attack and slightly slower releases will produce the most natural sounds, although if you set the attack too fast you will create a high- frequency ticking sound as it opens, which may or may not be useful in accenting the kick drum. This same trick can be used on toms and, by substituting a pink noise waveform for the sine wave, it can be used on snares too. It can also be used to create an automated gating effect on other instruments. Try gating a synth or vocal part to trigger off the hi- hat rhythm. The textures that you can create with these sounds can be quite interesting, and don. Using the hi- hat to trigger a gate on a synth, for example, can be used to replace the hi- hat pattern entirely, or as a substitute for it in a different section of the song. This effect is often easier to produce, and more natural sounding than using a pattern sequencer, or automation to control a gate. We have recorded tapping on a desk to use as a trigger for a gate on many occasions, knowing the desk tapping channel will never reach the final mix itself. Getting a Pumping Sound. Send the instruments you want to pump in time with the kick to a group buss. And in the side- chain key menu at the top left select the kick SC buss we created. The side- chain is now routed to the compressor, but the compressor is still not listening to it. In the side- chain section at the top right, click the key icon to engage the side- chain. The threshold control will now respond to the incoming side- chain. Set the ratio at 4: 1 and lower the threshold until you. A fast attack will bring the signal down, quickly making room for the kick, while the release should be timed to create a rhythmic pumping effect. Beefing it up with a Sine. Add a new mono Aux channel next to your kick, and add an instance of (in Pro Tools) Signal Generator followed by Dynamics III Expander/Gate. Set the Signal Generator to a sub- harmonic sine wave. You can tune this to your track, but is best around the 3. Hz range. 3: Similar to the side- chain compression earlier, set your dynamics gate to key from the kick SC channel and enable the side- chain. We want to completely gate the signal when the kick isn. This enables us to better shape the sub kick with the attack and release. Finally, when setting the attack and release we. This shapes the envelope of our new sub kick. Comments comments. Tags: Home, Pro Tools Tutorials, Tutorials.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. Archives
December 2016
Categories |