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Hehe....my source was KvR, where the guy who posted those notes said he read it from some magazine article interview with Prydz. You may want to search there.Quote:
i was googling for this prydz thing and found sth. describing what rounser said about the highpass thing just to find out it was rounser who posted lol
haha , i heard prydz was interviewed and said he mainly used reason...Quote:
Originally Posted by rounser
Hmmm....
Well, comp will only do so much. The original sound is where the power and the fullness comes from. If it aint there to start with not much will change this.
I have always taken the simple approach to creation. it is my way as it is so more challenging and eye opening. Basically I found that if you start off with the bassline and then add the kicks (maybe two or three kicks to make one) so that they completement each other rather than cancel you can get very full sounds. Running comp and dynamics over this will clarify it and help to highlight parts you want. Comp will sharpen and add to the already full sound depending on what sort of effect you are after.
The best trick is working out how to add multiple kicks to make one good kick.
Just so you know exactly what's going on, my source was this thread:Quote:
haha , i heard prydz was interviewed and said he mainly used reason...
http://www.kvraudio.com/forum/viewtopic.php?t=82119
I assume you've been reading this thread:
http://www.kvraudio.com/forum/viewto...;postorder=asc
Regardless, the reports aren't mutually exclusive, because sidechaining is possible in Reason with a bit of cable muck-aboutery. You'd have to route through a Malstrom to filter the signal rather than the filter module, because from memory the filter module lacks a high pass filter.
I used Creamware SCOPE, which is all modular routing too. I think the only platforms which can sidechain tend to be modular.
To make more room available for the bottom end of the kick I set HP filter sweeps as well as gain reduction in FL Studio to duck with a second muted kick drum (using a peak and forumla controller combo), but something I've started doing recently is triggering the transients a few ms BEFORE the kick drum and with a longer attack. This keeps the side chain compression smoothe as silk and less noticable, but still gives my kick a nice amount of room to really punch through the mix. At the same time I link the gain on reverb sends to the same peak controller so that they also duck in time with the kick. If you listen carefully it has that acid techno kinda thing going (far more subtly of course), but on all instruments using reverb, not just the kick (which I keep mostly dry anyway).