How to sidechain like kaytranada

Is there any sound quite as distinctive as a Kaytranada track? Thomas makes music through his duo, Albaas well as more heavy hitting club music through his solo project, Cop Envy. With some vinyl fuzz, the sparking of a lighter, and some self-recorded thumps driving across your left and right speakers, a synth spins through space before the primary sample of the track opens up the album, And when it comes to chopping up a sample, Kaytranada definitely has it down pat.

You can check out the original for a slightly disorientating listen to where Kaytranada took his inspiration for Track Uno. Apart from the slight increase in tempo, Kaytranada pretty much uses the sample note for note. Then one minute later, we have a complete switch up, with a new bassline, new drum track, and a new feel entirely β€” this could almost be a completely different track.

Next up β€” there are tonnes of added synths in this track. I reckon the bass is played by hand, as its pretty free and heavily swung. Thomas thinks it primarily comes from the way he mixes certain sound selections with a unique blend of rhythms.

The four-to-floor pattern of the kick drum is key in the rhythm of this track, and the track overall, as it gives it a forward momentum, and separates it from more classic broken kick pattern found in a lot of hip-hop.

A lot of the chops in the sample happen on the off beats, either on the 2nd, 3rd or 4th sixteenth of the beat. Kaytranada also likes to play with your expectations of rhythm in subtle ways. If you want to get hands on and have a go yourself β€” try our free Ableton Liveschool course with Flume now! Blog Shop Community. A breakdown of how Kaytranada crafts his beats Liveschool September 4, Workflow.Please enable JavaScript in your browser in order to make this website functional.

View All. Eight leading producers, mixers and DJs share their tips on how to get the most punch, clarity and low-end impact out of your drums and bass lines. But they can also be a challenge to mix, often competing with other elements such as your kick and bass, and if not well-chosen or well-processed they can easily muddy up a mix.

how to sidechain like kaytranada

Here are their tips and techniques β€” from adding distortion, to sidechain compression, to shaping your harmonics and transients. I love s, both as kick drums and for creating bass lines. Harmonics in s are really important, as are the pitch envelope and transients. I then compress this using a CLA-2A compressorespecially when using the as a kick drum. You can create or exaggerate these harmonics using distortion; but a more precise way to do it is to use the Cobalt Saphira harmonics shaping plugin to enhance odd and even harmonics, which can help shape the tone of the body of an Another plugin that can help you add harmonics and shape the tone is Renaissance Bass.

I usually process the body and transient separately, then fade them into each other and compress. When distorting the body, you also get unwanted high harmonics, which the filter automation can tame to taste. If you do this, make sure that you join the transient to the body at a zero crossing and in context with the pitch movement of the body at the join.

If you want to shape the sound of a kick drum or in even more detail, you can zoom in a wave editor and cut-and-copy individual frequency cycles. Multiband transient tools can also be used to lift the Hz punch zone. There are various ways to get your s sounding big and powerful. I have found in my experience that s vary in character almost as much as vocals. I know, I know β€” you're saying, how is that possible? But if you have a high workload, you will come across all types of s, from a simple, clean, beautiful sine wave, to an sampled from an mp3 that was time stretched and processed to sleep.

The Ultimate Guide to Sidechain Compression in Ableton Live 9

So, the tools I use depend on which s I get. In the case of starting with a nice, clean sine, it may be as simple as inserting a Waves SSL E-Channel or G-Channel and simply boosting a little 40 Hz and maybe a bit of compression.

But when an is in bad shape I need to use several plugs. Remember that compression is your best friend when it comes to s. If your mix has a kick and an that play together, always keep in mind while working on the that you need to consider its relationship to the kick.Here are few examples of sidechain compression in action:.

Tons of pages on the subject have been printed through the years by dozens of sound producers and mix engineers. Still the catch-all and clear overviews happen not too often.

So why should we invest our precious time learning it? Using these techniques we can create a controllable rhythmic fluctuations e. PSHT you say! The benefits for those who learn how to use it properly are top-notchβ€” it helps to solve frequency conflicts aka masking not only in a kick-bass pair, but also in kick-low synths, synths-vocal, synth-FX, you-name-it pairs.

how to sidechain like kaytranada

It adds extra movement to our instrumental parts. It allows to do miracles with reverb and delay tails when used on returns track. Note that mastery of these techniques may result in a noticeable increase in drink tickets, remix offers and dates.

Set Attack to 0. It also makes possible shortening the time needed for our bass to recover to previous levels when our trigger kick signal disappears in the chain. Gain Slider right section of the plugin is used for compensation of level drop caused by our trigger signal kick in this case.

EXTRA TIP 2: You gotta keep an eye open on the levels before and after sidechain compressor, not to ruin the volume balance in your mix you could have spent days crafting. In such cases, using a synth as a source for sidechain compressor may be a better choice. Using this sophisticated technique you got an option keep the overall volume balance untouched while solving the low-end kick-bass conflict where only low frequencies of the bass will get influenced by incoming kick triggers.

Especially when you work with low frequency range β€” you will need a good audio system with extended low end or professional headphones to hear the effect.

Nice tool, using in on a daily basis to create either volume or pan fluctuations in my projects. Set Phase to 0, change Sync from Herz to Notes, Amount to and start tweaking the Shape and Waveform parameters to get the result to fit your track. Make sure to check Sidechainer rack based on Autopan. Utility is an excellent tool but mostly used for another purposes.

Probably somebody missed that both Glue Compressor and AutoFilter got a sidechain sections that could be opened using the same triangle icon in the upper-left corner. FANTASTIC tools, highly recommend to invest time in mastering them first prior then switching to 3-rd party plugs that pretty often cause extra crashes and bring additional instability in our already complicated studio scenarios. Set your release as ms in BPM track and you will get your sidechain perfectly synced to the tempo.

At a certain point you will clearly get that pumping effect popping up. Hopefully this article brought some worthy extras to your table, so try some of them in your projects.

Well you have an awesome preset of multiband sidechaining. One mandatory embarrassing newbie question though: I downloaded the Live 8 compressor preset and put it into the compressor folder with all the other presets.

However, my Live 9. Any tips on this one? Your email address will not be published. Freebies Tips Tutorials. Comments Dhaval Thakkar. Try to click on diskette icon after you opened it in Live and save it this way. Leave a Reply Cancel reply Your email address will not be published.I like Simon Reynolds. His writing is precise and compelling. And he usually draws insightful conclusions from his compulsive consumption of culture.

Is he losing his critical edge, his fingers falling off our proverbial pulse? Surely not! Or, is it possible that there really was no ripple effect that swelled to a fully-fledged tidal wave, no discernible cultural high watermark for the past ten years? Nor was there even a pervasive creative tendency apparent in the Zeitgeist, like Retromania haunted the s. The biggest story of music in the s was that there was no biggest story of music in the s.

But why not? And will there ever be a big story again? And should there be? In the absence of big stories β€” that shock of the new β€” where else might we look to answer the questions of how music characterises our times, how it gives song to our collective dreams, our nightmares, how music concurrently mirrors and invents our culture? Conveniently, Reynolds offers us a clue in yet another of his comprehensive roundups, a cultural history of autotune.

Importantly, what Reynolds points to is not generic but technical. If we shift our perspective on sound and music to include technological criteria β€” not what musicians create, but how β€” we will see that there was indeed a sound of the s, just not a generic one. The sound of the decade was … processed. Pop music of the s was dripping wet with all manner of effects, plug-ins, pitch correction, equalization, delay, reverb, time manipulation β€” you name it.

Autotune is likely the most ubiquitous form of signal processing in pop. But another equally omnipresent and comparable form stands out as well.

That technique is called side-chain compression. What follows will proceed from the assumption that music, and particularly music that aspires to art, can be interpreted, deciphered, that it means something. I also assume as my PhD supervisor Jonathan Sterne always reminded me that technology is performative. In effect, technologies enact, technically, analogous cultural logics.His unmistakable synth lines, pounding drums, and groovy vocal samples mean you know a Kaytranada beat when you hear it.

To produce like Kaytranada is to walk the line between hip-hop and electronic music, bringing out the best of both worlds while crafting something truly unique along the way. Here are a few tips to get that Kaytranada vibe in your own beats. That's how he gets his thumping bass lines, lush chords, punchy stabs, and more of his signature sounds. But the point is not simply to recreate Kaytranada's work on the FM8 β€” for your own music, choose the synth that appeals to you most, and practice on it again and again.

By sticking with one synth across many songs, you'll give yourself a chance to develop patterns and preferences that will contribute to your overall sound. Plus, you'll get deep insight into your favorite instrument, and it's far more useful to be an expert at one synth than a novice at many. Kaytranada holds nothing back when it comes to producing drums. His kicks punch through the mix, his snares are always snappy and textured, and his hi-hat patterns range from dusty and shuffley to piercing and driving.

If you're drawn to making music like Kaytranada, it must be at least in part to recreate the impact of his drum beats. Take time choosing the right samples to use for your kicks and snares, experiment with compression and EQ until they knock the way you like, then line them up just right to get your head nodding.

This is a common technique in dance and other forms of electronic music, but it's worth repeating since Kaytranada makes such frequent use of it. Use your song's kick drum beat to create a breathing dynamic feel throughout the rest of the track by adding a compressor sidechained to the kick bus. When your kick drum hits, the compressor will lower the volume of the channel it's controlling, making the rest of your track responsive to the underlying pulse of the kick.

Tweak your compressor's attack and release to match the timing of your song, and adjust the threshold to your desired level of effect. It's not hard to get your hands on acapella tracks β€” try a quick Google search or scan your favorite message board for music producers.

A breakdown of how Kaytranada crafts his beats

Acapella tracks can be a powerful catalyst for learning how to arrange tracks, forcing you to break out of simply making loops and actually define sections for the verse, chorus, and so on. In most cases, you won't need to affect the acapella track to make it work, though you can experiment pitching it up and down to see how that changes the vibe. Kaytranada's career was already a success before his first record was in stores. That's because he'd already toured for years playing mesmerizing DJ sets, showing off his best remixes and keeping dance floors moving all night.

But Kaytranada's dream was never to be a popular DJ; the producers he admired were left-of-center, experimental, boundary-pushers whose catalogue displayed a diverse range of memorable music, unconfined to what works in a club.

When Kaytranada's debut record His record features all kinds of sounds: wobbly hip-hop with live instrumentation, hard-hitting electronic dance hits, rap anthems taking traditional trap elements to the next level, and much more. Kaytranada built his career with the tunes he knew would get people's attention, then steered back toward his true sound once he had a solid platform.

If your goal is to achieve commercial success while still honoring your inner artistic vision, consider Kaytranada's long-term strategy for doing both at a high level. Use Chrome Browser!

Serum Tutorial - Future RnB Chords Like KAYTRANADA / Medasin / Jerry Folk

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how to sidechain like kaytranada

Kaytranada has mentioned in interviews that his productions often feature a software synthesizer called FM8, a powerful yet intuitive FM synthesizer from Native Instruments. Build Around Vocal Acapellas.

how to sidechain like kaytranada

Consider Starting with Your Commercial Stuff.Many compressors have a sidechain circuit that you're capable of engaging that allows them to act as a sidechain compressor. This means that most sidechain compressors can act as regular compressors, but not all regular compressors can act as sidechain compressors. I'll be showing you how to sidechain your kick to your bass using Ableton's Glue Compressor.

This will provide your kick with more space in your mix, and result in a kick that is clean and punchy. There are also a limited number of attack, release, and ratio values that you can choose from, which makes dialing in appropriate settings much less intimidating. If you prefer to use Ableton's Compressor instead, go for it. All of the following steps apply in exactly the same way. Click this button to display the sidechain circuitry options. If you choose to tap the signal post mixer, this would not be the case.

Filtering the sidechain signal is useful if its inappropriately triggering the compressor. To overcome this issue, you can apply a high-pass filter and cut away the frequency content below approximately Hz. This will cause just the transient part of the kick to trigger your compressor, and solve the problem; the result is a much more responsive form of sidechain compression.

Now you can start dialling in the attack, release, ratio, and threshold of the Glue Compressor. For natural results, start with a ratio of oran attack time of 0. When applying natural sidechain compression, you want to minimize this type of pumping effect by using a short release time. A gain reduction amount of dB is a good starting point, but you can apply more gain reduction by reducing the threshold further.

To achieve this effect, start with a ratio of oran attack time of 0. The more gain reduction you apply by lowering the threshold level, the deeper the pumping effect will be. The big challenge here is getting your compressor to apply gain reduction in a way that is musical.

The tempo of your song dictates the speed at which your compressor should be releasing the compressed signal.Once you grasp the basics of sidechaining and these 5 techniques, you can produce mixes that have more space, energy, rhythm, and separation. Inside, I share the only 7 steps you need to go through if you want your mixes to sound professional. You are telling the compressor to turn something down once it goes above a certain level.

Now, sidechain compression is exactly the same as regular compression. You have a threshold, ratio, attack and release times…. With regular compression, the plugin will monitor the level of the channel and control the volume of the same channel. However, when you engage the sidechain, you can tell the compressor to monitor something else. A different channel or instrument, for example. When the other channel sidechain gets louder, the compress clamps down on the channel that it is applied to.

Let me give you a basic use case. Sidechaining first became popular among DJs. They would load up a compressor on the channel that was playing the music but sidechain it to the microphone. Now when they talk through the microphone the level of the music automatically drops. No need to manually ride the fader.

How to Use Sidechain Compression in Ableton

Step 1 : You need a compressor that supports sidechaining. I use Pro Tools and Logic Pro X mostly, and they both have a stock compressors that have a sidechain. Step 2 : Add the compressor to the channel that you want to compress more on this later. In this example, I want to compress the bass guitar when the kick drum hits.

So I apply the compressor to the bass guitar. Depending on your DAW, you might have to create a new bus or send to do this. Make sure to label it clearly e. Start with a ratio of and lower the threshold until you have the desired amount of gain reduction. Notice how the compressor ducks every time the kick hits or whatever else you are using as a sidechainNOT when the bass hits. In the majority of cases, you will want a fast attack under 2ms ….

Time it to a quarter note for obvious pumping common in dance musicor make it faster for subtle ducking to make room for the vocals or kick drum. You will learn more about release time in the following section outlining the main use cases. As a mix engineer, using sidechain compression on vocals is the technique that I find myself using the most.

Add a compressor to whatever is interfering with the vocal. Sidechain the vocal, start with a ratio of and adjust the threshold until you see dB of gain reduction. Apply 1dB of makeup gain.

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