
peritus
The not fountain head
I am reading this article:
https://homerecording.com/bbs/showthread.php?t=195784
I am not sure how to setup the situation mentioned in the paragraph in red..
Please help..
Thanks!!!
-------
A REAL KICK
When working with fully acoustic drum-kit tracks, the kick is one of the most difficult instruments in urban styles. Dye has a winning formula. “First, I call up DUY's DaD Valve,” he says. “It's an amazing plug that emulates tube saturation. I actually use the Snare setting on the kick as it adds a nice punch to the lows and has good high mid definition. Not every kick requires Valve, but when they can benefit from an added chunkiness, I'll use it with the input set for the right amount of saturation, sometimes backing it off to — 2 or — 3 dB.”
Using Waves C1 Gate, Dye then contours the length of the kick and cleans up the sound to make room for the top-end EQ that is applied later. His settings are as follows: Attack to 0.07 ms; Hold to 125 to 200 ms (the faster the tempo, the shorter the time); Release to 30 ms; and the Floor (dB of gating) at — 15 to — 20 dB to clean up the leakage, leaving some behind to maintain the live ambience and realism.
“I trigger my kick with a copy of the kick-drum track that is advanced 3 ms,” says Dye. “This creates a look-ahead gate and prevents the annoying click when a gate opens if it is triggered by the original track.”
https://homerecording.com/bbs/showthread.php?t=195784
I am not sure how to setup the situation mentioned in the paragraph in red..
Please help..
Thanks!!!
-------
A REAL KICK
When working with fully acoustic drum-kit tracks, the kick is one of the most difficult instruments in urban styles. Dye has a winning formula. “First, I call up DUY's DaD Valve,” he says. “It's an amazing plug that emulates tube saturation. I actually use the Snare setting on the kick as it adds a nice punch to the lows and has good high mid definition. Not every kick requires Valve, but when they can benefit from an added chunkiness, I'll use it with the input set for the right amount of saturation, sometimes backing it off to — 2 or — 3 dB.”
Using Waves C1 Gate, Dye then contours the length of the kick and cleans up the sound to make room for the top-end EQ that is applied later. His settings are as follows: Attack to 0.07 ms; Hold to 125 to 200 ms (the faster the tempo, the shorter the time); Release to 30 ms; and the Floor (dB of gating) at — 15 to — 20 dB to clean up the leakage, leaving some behind to maintain the live ambience and realism.
“I trigger my kick with a copy of the kick-drum track that is advanced 3 ms,” says Dye. “This creates a look-ahead gate and prevents the annoying click when a gate opens if it is triggered by the original track.”