Bass and kick glue

Discussion in 'Mixing and Mastering' started by danielworks, Nov 13, 2020.

  1. danielworks

    danielworks Newbie

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    Some time ago I saw a nice tutorial on Youtube about gluing the bass and the kick drum (I think it was using a bus channel and parallel compression) sending both signals to a bus channel and using this heavily compressed auxiliary channel.

    Please can you guys shed some light about this for me ? Thanks !
     
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  3. Smoove Grooves

    Smoove Grooves Audiosexual

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    Even simpler.
    Parallel comp is generally just sending the chosen instrument (via a buss!) to an aux channel and squashing it to f**k, then mixing it in underneath.
    Or you can copy the audio to another track and do the same.

    Compression of both kick and bass sent together to an aux is a technique to get some glue as well, yes.
    Strangely, I don't think I've ever done that and parallel comp at the same time, but I'm sure it's all good!

    edit: just realised that didn't make sense!
    I meant I commonly would use normal parallel comp on individual elements, or the grouping technique. Yet both ways I may EQ the comp track too.
    So I guess I've been using so-called 'NYC' style without realising it!
     
    Last edited: Nov 14, 2020
  4. rhythmatist

    rhythmatist Audiosexual

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  5. tzzsmk

    tzzsmk Audiosexual

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    this video tries to show a modern, not so easy to understand principle, definitely worth checking:
     
  6. thantrax

    thantrax Audiosexual

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    Uncle Bob suggest:

     
  7. Smoove Grooves

    Smoove Grooves Audiosexual

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    Great vid, but not a modern technique at all. Started doing this and similar things nearly 20 years ago personally, so I guess lots of people have worked it out too.
    And it's not actually about the simple parallel compression technique question of the OP.
    I must admit though, that's the first time I've seen someone talk about this in a vid or anywhere really.
    I reckon the thoughts that breed these types of ways occur to us when we've been working with audio for a while, and then choose to think outside the box, in the box!
    Which is why myself and my colleagues liked to believe that this was why our daw was named Logic!
    Because we could always think of new ways of dealing with challenges. Including creating convoluted MIDI splitters in the Environment, or copying a bass track to 3 tracks and then splitting 3 frequency ranges across them before we, or I, had multiband compression.
    All of which are also OT to the thread!
    I think it helped that we were all also instrumentalists (or maybe mentalists!) as well, so we knew what we wanted to hear, and would always try and find ways of making that happen and manufacturing the illusion. I always say, it's all smoke and mirrors.
    Plus, we only had a few devs offering us plugins at the start! So we had to think of ways of achieving things. Not like now. Where we have a plugin that does a number of past techniques put together under one button.
    And often with less versatility than the original ways! hehe.
     
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  8. Retrolize77

    Retrolize77 Audiosexual

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