hi
A4 user here, looking at buying Rytm.
Can anyone shed any light on whether it is easy to create kick and bass parts which really lock together to give that feel you sometimes get with well constructed funky deep house basslines.
cheers
Maybe try to emulate sidechain compression by programming volume fades on the bass when the kick hits
Hi Buzz,
I would either try what Leyy has mentioned up above. Or another solution that I use quiet frequently is to automate a HPF on the Bass of the A4 every time a kick hits clearing out the all those low frequencies for the kick to sit in. I hope this helps!
Kind Regards,
-DC
Deep house basslines are usually all about sidechaining. No way to do that ITB. You can either get yourself a hardware compressor with side chain input and feed the kick to it, or use a software comp in your DAW. When Overbridge arrives the second option would be easy peasy
Yeah that’s one of the main things I’m looking forward to in over bridge, easily using my laptop for effects, mixer style eq’ing and compression with a controller in a live setting, still need to find a good all around controller for that purpose but the new novation launch control looks pretty good
Have to agree with the above; if you want a typical “pumping” sidechained/ducked bassline sound, use an external compressor. You can get pretty far simulating this with careful programming, but it’s a lot of work.
Having said that, making your bassline and kicks “work well together” does not require any compression per se.
thx for the replies
mmm, overbridge should be good for sidechaining within the DAW then.
Hope it does’nt have some of the purported issues the Virus TI plugin has had, ie sync and timing issues.
[quote=“” 4.33""]
Deep house basslines are usually all about sidechaining. No way to do that ITB. You can either get yourself a hardware compressor with side chain input and feed the kick to it, or use a software comp in your DAW. When Overbridge arrives the second option would be easy peasy
[/quote]
It’s actually very easy to simulate side chaining, despite what you may think.
Either with p-locking volumes to steps that are on the beat, p-locking envelope parameters, or with an LFO to volume.
Or as has been suggested above, p-locking filter parameters can work as well.
And with trig less trigs, it takes just a bit of effort and thought to create all sorts of sidechaining effects on the AR.
Cheers !
It’s actually very easy to simulate side chaining, despite what you may think.
Either with p-locking volumes to steps that are on the beat, p-locking envelope parameters, or with an LFO to volume.
Or as has been suggested above, p-locking filter parameters can work as well.
And with trig less trigs, it takes just a bit of effort and thought to create all sorts of sidechaining effects on the AR.
Cheers !
[/quote]
True, but as soon as you step off the 4-to the floor pattern or use microtiming - you’re pretty much screwed!
Well, it’s not tooo hard to let them work together with or without every type of sidechain. You apply the rules that apply to those things in general:
[ol]
[li]Create a Kick that gives the A4-Bass an Edge. By this i mean: Make the kick short, let it not have too much bass at all and compensate for that with the A4’s Bass.[/li]
[li]If you want a heavy kick, adjust the Bass in the area where the kick is most prominent. Use a Spectrum in your DAW on the solo’ed output of both Kick and Bass, determine the Frequencies where they mostly overlap and use the Second Filter on the A4 to carve a cut at roughly that position. It is a subtle effect in the end but it works and leaves more air for the bass to counter the kick.[/li]
[li]Tune Bass and Kick apart. Real Deep House Basses (by this i mean the real Deep House style, not the commercial one all the Noobs think that this is deep house) are often pitched higher than the Kicks because in that style they often supplement the Melody clearly. Use this for your advantage. Take away by ear the parts of the lower frequencies of the bass that dont work with the Kicks Bass. Again the second filter is your friend here.[/li]
[/ol]
If you record individually you obviously have all the options of EQing like you would do with a real Master of a track. But if you dont do this i think the Tipps above can help you a little. Its not too easy to get this going - mainly because you dont have the EQs of the mighty Machinedrum on the Analog Stuff anymore. Still dunno why btw, but thats another point. But its also not as hard as hell. Work by ear, control with a spectrum if you are not sure and try the best you can - take your time on those parts. And then you dont necessarily need the Sidechain anymore. Because - REAL Deep House does not have a sidechain effect; this is a thing of today where one sometimes has the feeling that every style is just sidechaining everything … but its ok, it works 
Cheers
It’s actually very easy to simulate side chaining, despite what you may think.
Either with p-locking volumes to steps that are on the beat, p-locking envelope parameters, or with an LFO to volume.
Or as has been suggested above, p-locking filter parameters can work as well.
And with trig less trigs, it takes just a bit of effort and thought to create all sorts of sidechaining effects on the AR.
Cheers !
[/quote]
True, but as soon as you step off the 4-to the floor pattern or use microtiming - you’re pretty much screwed! [/quote]
I suppose so, I just tend to believe that there are lots of ways to create dynamics in a sound, side - chaining is just one of them. With all the tools at our disposal, there should be no excuse to not accomplish what the OP is asking, which is making kick and bass parts that fit well together.
^ this
not to mention, “work well together” is subjective
how in the world did they make all this great music prior to side-chaining and compressors 
P.S. my post isn’t to say you shouldn’t be able to do that…I think you should be able to if that’s the sound you are looking for…and there’s nothing wrong with it
Guys, let’s not forget that sidechaining is not only a mixing tool, but also an effect. I remember hearing Flying Lotus for the first time and finding it very annoying. But then I played that out loud on a big system and it all made perfect sense
You can also use a bit of filter resonance on the bass for “side-EQ’ing” if you want to do something a little different. Sometimes this works and does just what subbz2k mentions in his/her item 3.