Sending Bass to Drum Compression Track
- Thread starter Nola
- Start date
You'd be making a drums and bass sub group mix, presuming that's a stereo drum sub..? The bass panned center likely, the bus comp would 'see and react to what ever that balance is. 'Bass hot, comp sees' more bass etc. Plus or minus a few other things.. Like a 'fast attack would slant it towards drum transient, lots ('too much) of low end on the the bass could skew it to reacting to the bass, stuff like that.
There's dual mono/stereo link or not option too on a lot of them.
So your mono bass just shows up as part of the whole.
There's dual mono/stereo link or not option too on a lot of them.
So your mono bass just shows up as part of the whole.
Nola
Well-known member
Cool, thanks. I was reading the real NY compression wasn't just parallel but added bass to the drum mix. They didn't tell you how to set it up, though, in terms of a stereo/mono for the bass. The drums use a stereo compressor, but then you're feeding mono bass into that. I just don't know how that works.
Is there any good resource online how how to setup the buses for situations like this?
Right now I have stereo bus into stereo compressor. Mono bass into stereo compressor. Both then are compressed/eq'd and blended into the original signal. Is this is the correct way to do it?
I didn't know 'NY style included (or meant) bass and drums or not, but rather parallel compression.
Two paths (each) the smashed one and a 'dry one mixed back together.
But so far you're doing parallel comp for each I guess? Not quite the same as blending the two into a sub mix then?
The main thing I come away with in parallel comp, is you can use and then blend in desired amounts of really extreme compression effects -w/ or w/o 'eqed for emphasis.. that you would never get away with on the main track. (often a small amount back in does the trick.
Sounds right.
Two paths (each) the smashed one and a 'dry one mixed back together.
But so far you're doing parallel comp for each I guess? Not quite the same as blending the two into a sub mix then?
The main thing I come away with in parallel comp, is you can use and then blend in desired amounts of really extreme compression effects -w/ or w/o 'eqed for emphasis.. that you would never get away with on the main track. (often a small amount back in does the trick.
Nola
Well-known member
Yeah exactly, just a small amount. Any more and it begins to sound like trash. But the song I'm mixing needs a better snare sound and the parallel compression is making the snare pop more. So, I do like it on this song. Yeah I read true NY style had bass mixed into that drum bus. Without doing that it's just parallel compression but not true "ny style compression". I don't really need the bass mixed into the drum bus, but it was more to experiment. It sounds pretty cool.
I have both bass and drums going to the drum sub via their sends, so not each one separate. Two sends into one group that's setup for the compression. So I think it's setup right? I wish I could find a definitive article on buses and how to set them up properly for each effect. Right now I'm trying to piece it together with bits of info from various sources.
Ah I think I see now how you're doing it. There's several diff ways to get there- that's one. My drums always have a sub bus in my templates (Sonar) and I'll have an aux send off off that to a 'Comp sub buss, then both go to the Master.
I'd be interesting to know do your sends off the various drum tracks represent your drum panning in the sub group then? (Not sure.. right off even on my own 'rig come to think of it. I think it is LOL
I.e. if you solo the comp buss are they still stereo?