THE KICK AND BASS MIXING TRICK | How To Mix Low End
Summary
TLDRこのビデオでは、ミュージック業界で25年以上働いたプロが、ベースとキックの間の分離とローエンドの良いグルーヴを実現する方法を紹介します。3ステップのプロセスを紹介し、まずはコンプレッサーを使ってキックが入るたびにベースを減らすサイドチェーン技術を使い、次にコンプレッサーの設定を調整し、リリースタイムを正確に合わせるためのサイトtomhes.netを利用します。そして、キックのトリガーからではなく、MIDIトリガーを使用してサイドチェーンを設定することでキックドラムを自由に操作できると説明します。これにより、ローエンドに動きと滑らかさをもたらし、トラックのビートを維持します。
Takeaways
- 🎙️ ストリームラインの音楽業界で25年間働いた経験を持つ音楽プロデューサーが、毎週月曜日、水曜日、金曜日にビデオを投稿しています。
- 🔗 ビデオを購読するには、ビデオの説明欄にあるリンクをクリックしてください。
- 🎶 ビデオでは、ベースとキックドラムの別々の音をミキシングして、低域での良いグルーヴを実現する方法を紹介しています。
- 🔍 キックとベースの音が混ざってしまっては解決策としてサイドチェーン圧縮を使用することがポイントです。
- 🛠️ ステップ1では、キックドラムが入るたびにベースを減らすための圧縮器を設定します。
- 🔧 ステップ2では、圧縮器の設定を調整して、比率、しきい値、アタック、リリースタイムを最適化します。
- 📊 ステップ3では、サイドチェーントリガーとしてキックドラムを複製するか、MIDIトリガーを使用してより細かい調整が可能です。
- 🎵 サイドチェーン圧縮を使用することで、キックドラムとベースがミュージックの中ではっきりと分離され、グルーヴが生まれます。
- 📈 リリースタイムは、曲のBPMに合わせて調整することで、より自然な音になります。
- 🔗 BPMに基づくリリースタイムの計算には、tomhes.netというウェブサイトを使用しています。
- 👍 このビデオが気に入った場合は、いいねボタンを押して共有し、今後も同様のコンテンツが提供されるようにサポートしてください。
Q & A
ビデオではどのような音楽プロダクションのテクニックについて説明されていますか?
-ビデオでは、ローエンドのグルーヴを作り、キックとベースの間の分離を図るためのサイドチェーン圧縮のテクニックについて説明されています。
サイドチェーン圧縮とはどのような技術ですか?
-サイドチェーン圧縮は、特定の音源(この場合はキック)が鳴ったときに、別の音源(ベース)の音量を自動で下げることで、両者の間の分離を図る技術です。
ビデオではどの音楽ソフトウェアを使用していますか?
-ビデオではLogicという音楽ソフトウェアを使用しています。
キックとベースが混ざってしまっている問題を解決するために、どのような3ステップのプロセスが提案されていますか?
-提案された3ステップのプロセスは、サイドチェーン圧縮の設定、圧縮の様々なパラメーターの調整、そしてキックからではなくMIDIトリガーや二重のキックを使用してサイドチェーンを行うことです。
ビデオで説明されている圧縮の設定には何が含まれますか?
-圧縮の設定には、圧縮比、しきい値、アタックタイム、リリースタイムの調整が含まれます。
リリースタイムを設定する際に使用するウェブサイトは何ですか?
-リリースタイムを設定する際に使用するウェブサイトはtomhes.netです。
サイドチェーン圧縮で使用するしきい値をどのように調整すればよいですか?
-しきい値は、ベースが通過しないように設定され、キックが鳴った時にベースが自動でダウンされるように調整されます。
ビデオで提案されている圧縮比はどれくらいですか?
-ビデオでは、デモンストレーションのために圧縮比を30:1と非常に高く設定しています。
キックとベースが良好に分離されるとどのような効果がありますか?
-キックとベースが良好に分離されると、曲のローエンドが鮮明になり、グルーヴが良くなり、全体的にバランスが取れた音になります。
ビデオで述べられているMIDIトリガーを使用する利点は何ですか?
-MIDIトリガーを使用することで、トリガーの長さやタイミングをより細かくコントロールでき、キックドラムを自由に操作できるため、サイドチェーン圧縮をより正確に行うことができます。
Outlines
🎛️ サイドチェーン圧縮でキックとベースを分離する方法
ビデオでは、ミュージック業界で25年間活動してきた経験を持つ音響エンジニアが、キックとベースの分離とローエンドのグルーヴを作り出す方法を解説しています。まず、サイドチェーン圧縮を使用して、キックが入るたびにベースを抑えることで空間を確保し、キックのトランスイエントを失わないようにします。次に、圧縮の設定を変更して、比率を高くし、閾値を最大に設定してベースを通さず、アタックを非常に速く、リリースも速く設定します。さらに、BPMに合わせてリリースタイムを調整し、グルーヴを作り出します。最後に、キックの複製を使用してサイドチェーンをトリガーし、キックのサウンドを変更しながらもサイドチェーンに影響を与えないようにします。
🎧 キックとベースの調整とサブバスのEQ調整の秘訣
ビデオでは、さらにキックとベースの調整を進めて、サブバスのEQ調整の秘訣についても触れています。MIDIトリガーを使用することで、トリガーの長さをコントロールし、必要に応じて調整することができます。これにより、キックドラムを自由に操作しながら、ベースとの同期を保つことができます。ビデオでは、サブバスのEQ調整に関する次のビデオへのリンクを提供し、毎週月曜日、水曜日、金曜日に投稿されるビデオを購読していただくよう呼びかけています。
Mindmap
Keywords
💡サイドチェーン圧縮
💡グルーヴ
💡キックドラム
💡ベース
💡サブバス
💡トランジエント
💡EQ(イコライザ)
💡ミディアムトリガー
💡サインウェーブ
💡リリースタイム
💡BPM(ビート・パー・ミニット)
Highlights
Streaky introduces a three-step process to achieve separation between kick and bass in music mixing.
The importance of using sidechain compression to create space for the kick drum.
How to set up a compressor to duck the bass out of the way when the kick comes in.
The use of a standard logic compressor for sidechain purposes.
Setting a high ratio on the compressor to mold the bass sound.
Adjusting the threshold and release times for optimal groove.
Utilizing a fast attack and release for the compressor to achieve a tight sound.
The recommendation to use a website (tomhes.net) to calculate release times based on track BPM.
The approach of duplicating the kick to sidechain from it instead of the original kick for creative flexibility.
Using a sine wave played via MIDI trigger for more control over the sidechain.
The benefits of manipulating the kick without affecting the sidechain compression.
The impact of EQ on the sub-bass and a teaser for an upcoming video on EQ secrets.
The final result of a smoother bassline that keeps everything in time with the track.
The overall improvement in the motion and groove of the low end after applying the process.
The call to action for viewers to like, subscribe, and watch the next video on sub-bass EQ secrets.
Transcripts
welcome back i'm streaky today's video
i'm going to show you
how you can get some good groove going
in your low end
and get some really important separation
between your kick and your bass
when you're mixing i think i like this
one it's all about the side chain
i know a lot of you are new here so
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right let's get in there so here we are
inside of logic again now
uh what we've got here is a kick and a
base
and to get these so that they work
within the mix and so that we can get
them
so that you know they're not all blurred
and you know we're on a bit of
separation
in there if we have a quick listen to
see how that sounds
uh blank before we start doing any
processing
so you can hear they're kind of a little
bit muddled so i'm going to now show you
a three-step
process that will make it so that we can
get separation with
any bass line against your kick so
they're not blurred and
mushed up so first of all step one is we
need to
get a compressor up because what we're
trying to do is duck
the bass out of the way every time the
kick comes in so all it's doing we're
making space
for the kick so otherwise we're going to
lose the transient from the kick
so what we want to do we've got a
compressor here which is the standard
logic compressor
we'll set the side chain up so what
we're going to do is side chain it from
the kick itself
so that it's just taking the kick as the
trigger so every time the kick comes in
the base is duct out of the way okay so
now on to step two which is how we
set up the compressor now i want this
compressor
on full on first of all just so that i
can really
sort of then mold it as it plays so that
i can hear what it's doing so
i'm putting a ridiculous ratio on it so
it's like 30 to one
i'm going to make sure that it's the
threshold is fully on so that it's
not letting any of that base through i
want the attack
really fast so that it grabs it as soon
as it hears it it grabs it and i want
the release really fast so it lets it go
as soon as possible
so let's just play that through and
you'll see
as i'm playing it through i'm just going
to open up that
threshold so that it lets the bass come
through until i hear that it's
sort of doing the groove how i want it
to groove against the base because
what it's essentially doing is ducking
every time the kick comes in
so i just want to modulate that so that
it's bouncing off each other
okay so that's feeling pretty good now
what i want to do is move the ratio out
so i'm not
doing as much heavy compression i want
to make that a little bit lighter so now
you can hear how that sounds
so i think that sort of feels pretty
good around there as i'm poking it in
and out
um now that that's kind of grooving
really well
so i want to keep the attack really fast
still i don't want to move that but the
release time
it works really well when you get this
in the exact
tempo with the track so working with
the bpm which is 123 on this track if i
go to the website which is
uh called tomhes.net on here i can put
the bpm
in the top which is one two three and
then it will calculate the milliseconds
that i can do the release time for
now i want the quickest milliseconds i
don't want it to be sort of holding on
to the sound for too long i still want
it to release quite quickly
so the quickest one that is on here is 1
64th note
so i will take that which is around 30
milliseconds 30.4 milliseconds
i'll then put that into the uh release
time on there
so about 30 move up
so around there and then that will
release it exactly the right time we
want to release so
let's listen how that sounds and i'll
just move it in and out as
as i play it
so as you can hear that kind of really
gets the groove working properly
um so that it it really is the timings
spot on
so i'm loving the way that sounding that
groove is really coming together it
sounds really tight it's moving
i can hear the bass happening i can
really get in some good transient hits
on the um kick so it's kind of working
it's moulding them together
it's keeping it out of the way but let's
move on to step three which is a little
uh secret tactic that i use which is to
not just sidechain the base from the
kick but
duplicate the kick so that what i do is
side chain it from that don't have that
on an output but use it as a side chain
because
what i want to do maybe with the kick i
want to change the level
i want to you know change how it sounds
things like that and i don't want that
affecting the side chaining at all so
i'm just using the side the kick now as
a trigger
for the bass so make sure that you have
that
secondary side trigger output to no
output you don't want that playing
uh double the base also something that i
do
do more than this is i'll usually get a
so i'll have the trigger
as a sine wave played via a midi trigger
because this way you'll have
more control over the length of the
trigger
and you can move it around a little bit
if you want to it just makes things a
little bit easier and a little bit more
technical but
for this demo this sort of works
perfectly so just to show you
why i do that side chain off another
trigger rather than off the kick drum
uh if i am changing the sound so for
example i'll i'll take some of the bass
out of this kick which you might do you
might filter the kick at some point and
you might do
some other tricks or put some delays on
it whatever you want to do that's more
creative
you'll see that as i've got that on the
kick then
the compressor just basically stops
working because it's not getting the
same signal
to it as it would if it was just a
straightforward trigger
so it's really good to have another
trigger running rather than using just
your kick
because that way you can manipulate the
kick throughout the track
so just make sure that you've got the
side chain now
rooted from the actual side chain
trigger
rather than from the kick drum otherwise
you'll just confuse yourself
and then you know that everything's
running as it should
and you can manipulate the kick however
you fancy
so if you're enjoying this video so far
please thumb this video up it really
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already right let's get back into it
so now we've changed that to trigger
from the side chain trigger rather than
the kick
let's play the track and we'll put that
eq back on and then you'll see how
when you sort of uh filter the low end
out the
compressor will still move exactly the
same way as if it was
running from the kick drum itself
[Music]
and it just keeps the groove going with
the so the bass groove stays exactly the
same
and it keeps the beat of the track so
you get a lot smoother baseline
that just keeps everything in time and
it just gives much more motion to the
low end so there you have it that's the
three steps
i let's just run through those you're
getting first of all you're setting up
the side chain compressor
then you're setting up the different
settings on the side chain compressor
you're getting the
uh thresholds running at the right time
and you want your
release time from where i sent you
earlier which is tom hess i'll leave a
link to that below
and then after that you want to
sidechain it
from either a duplicate kick or ideally
you do it from a midi trigger on a sine
wave
so that you can then manipulate the
trigger as much as you want to
manipulate the kick drum
so now you've got this groove working
you've got the bass so it's moving in
time with the track
you've got the kick working properly now
if you want to really tune up that
sub end then you want to watch this
video that's coming up next
it's an eq secret on how to eq sub bass
so
check that out don't forget to like this
video don't forget to subscribe press
the bell
because these videos happen every monday
wednesday and friday
so watch the sub bass eq secret coming
up now
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