LOL..... reading back through this I was just about to respond to Linear Phase's "had that been mentioned on page 1" and refer back to my post#2 and then read Jeff's post.

I guess I should have been a little clearer but it never really occurred to me that the "send the lead vocal to it" would be interpreted as anything else other than a send but I can see if one doesn't already know how to set up a sidehain it could be misconstrued.

I'll edit my post to make it clearer for anyone that ever finds this thread via a search. By the way if you have stumbled across this thread via a search please PM me with details on how to get the search to work.

Very informative thread, gentlemen. You've given me some additional side chaining ideas. Thank you!

the delay on the delay buss after the dela

FastBikerBoy


LOL..... reading back through this I was just about to respond to Linear Phase's "had that been mentioned on page 1" and refer back to my post#2 and then read Jeff's post.

I guess I should have been a little clearer but it never really occurred to me that the "send the lead vocal to it" would be interpreted as anything else other than a send but I can see if one doesn't already know how to set up a sidehain it could be misconstrued.

I'll edit my post to make it clearer for anyone that ever finds this thread via a search. By the way if you have stumbled across this thread via a search please PM me with details on how to get the search to work.

Hey.. :-) What was unclear to me, was that the vocal on track 1, was sent to both the compressor, and the main bus..   that is what totally confused...  because in my mind the option was either, "the comp, or the main input of the bus," and not both...

:P

But I get it now, and as Jeff suggested, I've been playing around with it..   and wow!!!   Its a damn cool production teqnique..   Its really cool sounding!!


So thank you to everyone!!!!!


And @ Jeff Evans and tunekicker, I would have responded to you guys more last night, but I was just beat tired...


Cheers



Edit = "What a gem, what a gem!!  OMG, this is A-MAZING!!  I've always wanted to get this whole ordeal, I did not know how to get it!!  Here is my wav..  These are female music radar samples, and the ProChannel Compressor, and a little Quad Curve EQ on the Bus that is sidechained!!

https://www.box.com/s/w6xlonb9mcrhe53qit8x

Totally awesome..   oh, and just the Sonitus Verb, incase anybody wants to know the verb too...

peer-to-peer ftw :)

LinearPhase that is a great vocal example and using side chain compression. (Who is that chick singer!) And I really like the grainy-ness of the reverb too. I have been reading an interesting article in a great Australian mag about using reverbs and it is good to use cheaper lesser quality more grainy sounding reverbs sometimes in your mixes rather than big expensive sounding smooth reverbs.

The more grainy reverbs can actually fit into a mix better and the brain is also rather good at smoothing out the reverbs a bit. Also the room you are listening to them also sort of smooths things out by adding its own reverb into the reverb you are using in your mix. There are only so many expensive lush reverbs you can have in your mix at any one time. One preferably.

Sidechain compressing all reverbs to a certain extent is a fantastic way to keep them all under control especially while the parts that are feeding them are present. The mix can sort of go from dry to wetter and back again.

Jeff Evans


LinearPhase that is a great vocal example and using side chain compression. (Who is that chick singer!) And I really like the grainy-ness of the reverb too. I have been reading an interesting article in a great Australian mag about using reverbs and it is good to use cheaper lesser quality more grainy sounding reverbs sometimes in your mixes rather than big expensive sounding smooth reverbs.

The more grainy reverbs can actually fit into a mix better and the brain is also rather good at smoothing out the reverbs a bit. Also the room you are listening to them also sort of smooths things out by adding its own reverb into the reverb you are using in your mix. There are only so many expensive lush reverbs you can have in your mix at any one time. One preferably.

Sidechain compressing all reverbs to a certain extent is a fantastic way to keep them all under control especially while the parts that are feeding them are present. The mix can sort of go from dry to wetter and back again.

Hi Jeff Evans, I don't know who the girl is..  Maybe you can hunt the name down?  http://www.musicradar.com...ample-downloads-217833

http://mos.futurenet.com/...male-vocal-samples.zip

The bottom is the direct link, and the top is the story behind the link...  

I really like grainy, older reverbs too btw..   Thanks for the help and insight in the thread


Cheers


Ps..  The second link is 426 megabytes, just fyi to anybody who is about to click...  make sure you the time/fast connection

What am I doing wrong? 1. Vocal track going to master bus 2. Bus with sonitus delay setup at 100% wet 3. Sonitus compressor after delay on bus 4. Output of sonitus compressor set to sidechain. 5. Send on vocal track going to sonitus compressor sidechain I see no activity on the sonitus compressor or the sonitus delay,?

It'll probably work better with the compressor before the delay as you'll be ducking the signal fed to the delay rather than the signal coming out of the delay.

I think the problem may be you have no audio signal going to the bus. The output to the sidechain doesn't count as that doesn't go anywhere, once it reaches the compressor to trigger that it's the end of the road for that signal.
 
The compressor isn't compressing as there's no signal to compress even though the sidechain is doing it's job.
 
Insert another send to the buss from the track and I'm sure you'll then see it working.
 
I've just edit my post#2 (again) to make that clear. When I answered the OP he stated he already had a send to the buss set up hence I didn't include that step. My original suggestion was an add on to his steps. Sorry for any confusion...

So basically the solution to my problem was at FastBikerBoy and Jeff Evans described, with a dedicate bus containing a delay set to 100% wet and a sidechain compressor immiediately after. Now the problem is, my primary delay effect (z3ta+ effect) cannot be set to 100% wet... the dry is fixed, and you can only adjust the wet. Anyone know if there IS a way to set z3ta+ to 100% wet?? Or if there is a free delay VST out there that can do multiple simultaneous delays (which is why I use z3ta+)??

FastBikerBoy


It'll probably work better with the compressor before the delay as you'll be ducking the signal fed to the delay rather than the signal coming out of the delay.

I think the problem may be you have no audio signal going to the bus. The output to the sidechain doesn't count as that doesn't go anywhere, once it reaches the compressor to trigger that it's the end of the road for that signal.
 
The compressor isn't compressing as there's no signal to compress even though the sidechain is doing it's job.
 
Insert another send to the buss from the track and I'm sure you'll then see it working.
 
I've just edit my post#2 (again) to make that clear. When I answered the OP he stated he already had a send to the buss set up hence I didn't include that step. My original suggestion was an add on to his steps. Sorry for any confusion...

Still not getting it to work
Insert another send to the buss from the track and I'm sure you'll then see it working.   Is that additional test send going to the side-chain compressor as well or straight to the bus