My father just passed away last year... Go see your father, and clear things up, life is too short my friend, and people are gone to quickly... I wish I could see my dad one more time...
You can also sidechain a multiband compressor to duck only certain frequencies, like cleaning up low end clashes or making space in rhythm guitars for a solo track. Very useful in a pinch.
Very nice! But Sidechain Compression is one of the first things you learn, if you're doing EDM. ^^ So one word of advice to aspiring engineers: Look to other genres and learn their techniques too. They might help you out a lot in what you're doing!
Hey man I just gotta say bless your fuckin soul for doing this, for free you’re helping countless people make the music they’ve always wanted to make and I myself couldn’t be more grateful for people like you
Writing stuff for the algorithm for a YT boost. Hope the wife is getting better. I don't even know how I stumbled across you. Closest I ever came to recording anything was during my time in Armed Forces Radio. You asked so I help, the way it's supposed to be before Russia invaded our politics.
I was shocked when I first recorded overheads because they basically make a terrible mess - cymbals that sound more trebly than they do in real life, washing chaotically over the rest of the kit which doesn't sound particularly trebly so how am I going to EQ that?? Then I listened to examples of professionally recorded overheads on UA-cam and discovered that yes, they always start off sounding like that! Which obviously means us producers have to knock them into shape. I've not got very far with learning how to do this, but I'm sure that these sidechain ideas will help. So it's time to step away from my fixation with the T-RackS modules and start using the Logic compressor, which actually *has* a sidechain. Thanks Glen!
Thanks, Glenn. To be honest, ever since I've started watchin' your vids (& you talkin' about sidechaining), I've often wondered "what exactly IS sidechaining?" & here's my answer. Now, to go through a few of my older recordings & experiment with sidechaining on those.
I remember learning sidechain for EDM production. Tbh, I never used in metal, I normally keep the frequencies of bass a kick far away from each other. But this video is great to implementing SC compression in rock and metal. I’ll try it out just next time for fun. Thanks !.
As someone who is aware of this in electronic music, it´s really cool to see this in real instrument music. I´m curious on your take on electronic heavy bands (Bloody Beetroots, Prodigy and then to the more metal with electronica... Rammsteim, Ministry, NIN and even Babymetal). In electronic music, almost EVERY thing is sidechained to drop out (from large levels in bassline and synths to softer on hi-hats etc.). That way the kick sounds more punching through the music. Love the channel Glen =)
Wow! those two applications (on bass and on overhead) made a really big difference for the better! Didn't even knew this technique existed. Thanks for featuring this
Oh my god so much makes sense now! I've never seen/thought of this technique before, and have gone to crazy lengths to get the same effect! Glenn, youre a legend mate, keep it up!
Glenn, Glenn... This was taught to me in college about 10 years ago and I NEVER retained it, you just made something that seemed like witchcraft feel accessible. Kudos my man
Very Awesome video. Had to wait till the weekend to watch it so I had theme to really give it full attention. Just stated using Drum leveler and I love it, might have to start exploring the side chaining abilities of it.
All this stuff is super useful and concise. Not many series' on youtube that go over the basic meat and potatoes in mixing. Got lucky with some equipment and space to work so I'm recording an EP this summer, but I'm relatively lost when it comes to what happens after tracking hahaha.
Glenn, the information in this video has opened up my recordings tenfold. It's astounding how much this technique cleans up the low end. Thank you for all you share with the world!
One neat trick for sidechaining kick and bass is to run the bass through a frequency splitter (REAPER has 3 band to 5 band splitters and joiners, I tend to use the free Crossover VST from RS-MET, which allows a 2 way split) and then only use the sidechain on the low end (usually around 150Hz or so, with a pretty steep Q). If you do this you can push the ratio pretty hard, but since you still get a lot of the harmonic content of the bass guitar you don't completely wreck the track. Basically this method allows you sort of homebrew a multiband compressor with the option of using either the effected audio or a separate sidechain per band!
I've only used side chain compression on kick and bass, but maybe side chain processing is something I could dive more into. Thanks for the video, Glenn.
I've used most "industry standard" DAW's to mix, master and produce. This guy has explained side chain compression clearer than anyone I've seen so far. But it's hard to translate this info to, let's say, Reason 11 where you have to flip the rack to connect output to input track by track until you reach the "master rack." Does anyone have advice on this? Thank you!!
Man, these videos are great. To the point, concise and informative. They're really helping me anchor and solidify stuff I've kind of learned over the years. Kudos!
Thanks so much for doing these tutorials - they're great! Side-chain compression is something I've never really taken advantage of, so this has got me thinking that I should try it out some more on some things.
Thanks so much! I have actually been experiencing this problem in one of my mixes where the bass guitar and the kick were competing with each other. I'm gonna try this out! Thanks for the great videos, your content is awesome. Can't have a SpectreSoundStudios video without dissing bassists lol
One good example of a misused, or used for effect compressor is that typical pumping sound of some EDM tracks. There's a noticeable dip in volume on each kick hit. Kick->Side chain->Master bus compressor.
Thanks man. Almost all my mixing knowledge comes from your videos. I have like 30 A4 size sheets filed till now with notes. And my mixes are starting to sound interesting. Thanks !
I have been recording longer than you, but I think you did a good job describing how to use a sidechain. I don't use it much myself because I like to make that space in the mix with eq unless something is seriously off that can't be fixed with phase alignment. We all have our quarks and way we like to do things. Nice mix on Amadeus by the way!
Amazing! Ive been having difficulty getting vox to sit nicely with a distorted 7 and 6 string. This technique worked great by side-chaining the guitars with the lead vox. Bamm! Thanks Glen!
Great video man thank you for sharing. I am new to recording and have heard the term side chain but actually seeing you apply it and explain it really just made it click in my brain.
Great vid. Wish I had this series when first learning. Used to always confuse file compression with signal compression. For your a Q+A: how do you feel about singing drummers and how do you deal with mic-ing them in either a studio or live setting
Would you recommend splitting the bass into low amd high and only sidechain the low end by the kick drum or is straight up sidechaining the whole thing better?
Many compressors include sidechain filter though, saving this extra step as you can just compress low end of single track. Look out for eq options in your compressor!
I duplicate the bass track, do a low-pass eq on one, and high-pass on the other, then sidechain compress only the low-pass one. It sure clears the clash between the kick and bass and leaves all the mid and high end information untouched on the bass. What do you think of this trick Glen? Great or just Bogus? lol
Absolutely love it! If I may suggest another topic, that would be stereo widening... what difference is there between that and panorama control? I've heard that you "widen the stereo field to make space for bla bla"... So, how does that witchcraft work?
If you pan you move your audio within a 90° arc in front of you. If you add a copy of the hard panned track, pan it all the way to the other side, flip its polarity and then change its level you can go beyond the stereo base (those 90°s) and extend the perceived position to a full 180°. If you go really far it becomes somewhat disorienting - we hear a sound coming at our ears with reversed polarity and our natural inclination is to tilt our heads, to figure out whether it is coming from the left or right(because "exactly from the left" sounds precisely like "exactly from the right", but "almost exactly from the left" is slightly different from "almost exactly from the right). But if you mix that way, turning our head doesn't help us. You also lose mono compatibility - if you listen in mono the polarity reversal leads to cancellation and the level of the sound drops. I would suggest using this sparingly and only on things that aren't essential. When you do something like record a glockenspiel to play along the open Hi Hat hits for the final chorus that's where you might consider it. It gives the glockenspiel its own space and it becomes something somebody can discover when they listen closely to the track on headphones or with a pair of good speakers in a decent listening position. A lot of "OMG, I never noticed that" moments come from putting things beyond the stereo base. But you don't want to do this on anything that defines the song.
Hey. I just bought an SM57 and a Scarlett 2i2. Wondering if you could make a tutorial, start to finish, working with hardware and software for a short beginner track. I would love to see the whole process done by a professional so I can have a better idea of how to start. I'm especially curious about mixing, and things like how loud my amp should be to get a good tone.
I'm confused on one thing. The Auxiliary. The Kick was sent out on 3/4. Then later, the Snare was also sent out on 3/4. So, are Kick & Snare on 3/4 at the same time and therefor BOTH affecting the bass guitar & the overhead mics? In other words, when you selected the 3/4 Auxiliary for the expander on the overheads, how did it know that you only wanted it to be affected by just the snare?
Thank you Glenn for the awesome tutorial keep it up!! Is there anyway you could cover a video on how to bus properly and how much compression is too much compression?
Fantastic explanation! I have one (unrelated) question. I remember in your rookie mistakes video you quickly ended by saying that “headphones lie”, and not to mix with them. Would you mind explaining why headphones are bad for mixing with?
I use sidechaining on vocal and lead guitar delay if I'm doing something extreme, lets you have the big effect during the gaps but the delay gets out of the way for the meat of it.
Hi Glenn Greetings from the UK - been getting alot from your output. Always headbang to the opening blast! Have played around with the Reacomp for this sidechaining thing, but have found a JS plugin called NP1136 Peak Limiter, which seems a bit easier to use I think. Can you comment and maybe pass this on, in one of your next posts please? Am printing a bass drone to test the compressing effect and then soloing it, so that I can get a clear idea of what is happening to the affected instrument.Thnx
I've found the best game to play with Glenn. It's kind of like a drinking game. Anytime he gives bassplayers shit, practice for an hour. Anytime he wears one of his anti-bassist shirts, practice for an extra half hour. Anytime he calls us cheap pricks, check to make sure you have a new set of bass strings for the next time you change them (which you should do REGULARLY, YOU PRICKS.) Just in the process of his rants about bassists, I've bettered myself as one! Thanks Glenn
so when do you decide to use sidechain compression and when not to? I've done it in the past and have had great results. But what about something that has a lot of double bass (kick drum)? If you use it, you'll never hear the bass guitar, but if you don't, the bass guitar will be covering the bass drum and it'll be muddy...
man you remind me of my dad. And I havent hugged my dad in a long time.
My father just passed away last year...
Go see your father, and clear things up, life is too short my friend, and people are gone to quickly...
I wish I could see my dad one more time...
Take it easy there cupcake
@ u feel good being a tough guy on the internet in the middle of the night? I feel sorry for you. I hope you find peace. ♥.
Hug him if he deserves it, and tell him about sidechain compression.
sad asf mane
I'm loving this series. Every time someone has a question about audio I always point them in your direction. Never stop!
you should do a Q&A video next
Your audio production vids just make me wanna sit behind my desk and start working! You're inspiring, man!
You can also sidechain a multiband compressor to duck only certain frequencies, like cleaning up low end clashes or making space in rhythm guitars for a solo track. Very useful in a pinch.
Stefan Tomić Any specific plugin?
FabFilter Pro-MB comes to mind, but I think any multiband compressor will do the trick, if it can be sidechained.
Trackspacer was made specifically for this
@@phunniguy THANK YOU
@@lfox02 Waves C6 multiband comp.
Didnt think i could love you more but I was wrong
I don't know whether to say "thanks" or to run away screaming!
i'll let you decide ;)
@@RudyAyoub Play wonderwall bro
😂
Very nice!
But Sidechain Compression is one of the first things you learn, if you're doing EDM. ^^
So one word of advice to aspiring engineers:
Look to other genres and learn their techniques too. They might help you out a lot in what you're doing!
Thanks, Glenn. Praying and playing. Family first!
watching while drinking
taking notes so I don't forget
this is one of those videos that make your mixing 3x better
1:26 I understand that concept! Finally the last and very simple key piece of the puzzle to understand sidechain compression
I'm someone who makes electronic music and I always come back to this channel to get new tricks. Never would have heard of expansion otherwise.
Hey man I just gotta say bless your fuckin soul for doing this, for free you’re helping countless people make the music they’ve always wanted to make and I myself couldn’t be more grateful for people like you
Finally a simple, to the point explanation of side chain. For the first time it make sense. Can’t wait to try it out.
Two minutes in and you've nailed it. Thank you.
Writing stuff for the algorithm for a YT boost. Hope the wife is getting better.
I don't even know how I stumbled across you. Closest I ever came to recording anything was during my time in Armed Forces Radio. You asked so I help, the way it's supposed to be before Russia invaded our politics.
I was shocked when I first recorded overheads because they basically make a terrible mess - cymbals that sound more trebly than they do in real life, washing chaotically over the rest of the kit which doesn't sound particularly trebly so how am I going to EQ that?? Then I listened to examples of professionally recorded overheads on UA-cam and discovered that yes, they always start off sounding like that! Which obviously means us producers have to knock them into shape. I've not got very far with learning how to do this, but I'm sure that these sidechain ideas will help. So it's time to step away from my fixation with the T-RackS modules and start using the Logic compressor, which actually *has* a sidechain. Thanks Glen!
This... This is gold. I wish I would've known about the snare & overhead compression trick a while back.
:)
I love that you provide specific examples in context, e.g. why you're changing the release time and by how much.
Thanks, Glenn. To be honest, ever since I've started watchin' your vids (& you talkin' about sidechaining), I've often wondered "what exactly IS sidechaining?" & here's my answer.
Now, to go through a few of my older recordings & experiment with sidechaining on those.
Thank you very much this is what i was looking for (sidechain compression between room and snare)
You are a metal treasure! I am thankful for your huge contribution to the music world.
I remember learning sidechain for EDM production. Tbh, I never used in metal, I normally keep the frequencies of bass a kick far away from each other. But this video is great to implementing SC compression in rock and metal. I’ll try it out just next time for fun. Thanks !.
Man, keep it up. This is probably these are probably the best videos you've made.
By the way....
Your intro music RULES
That snare just cuts right through, sits perfectly, and the bloody guitars just SLAY me.
Love it !!!!
As someone who is aware of this in electronic music, it´s really cool to see this in real instrument music.
I´m curious on your take on electronic heavy bands (Bloody Beetroots, Prodigy and then to the more metal with electronica... Rammsteim, Ministry, NIN and even Babymetal).
In electronic music, almost EVERY thing is sidechained to drop out (from large levels in bassline and synths to softer on hi-hats etc.). That way the kick sounds more punching through the music.
Love the channel Glen =)
One day I will remember this and not have to come back here each time LOL!! Thanks Glenn!
back down the rabbit hole again
this is the most straight forward tutorial i’ve ever seen...
Thanks glen! I hope to get a grasp of this soon!
Been trying to get u or warren to cover this subject for awhile now. Thanks man. Great job
Wow! those two applications (on bass and on overhead) made a really big difference for the better! Didn't even knew this technique existed. Thanks for featuring this
Oh my god so much makes sense now! I've never seen/thought of this technique before, and have gone to crazy lengths to get the same effect! Glenn, youre a legend mate, keep it up!
Love these! Your channel has become part of my daily studio nerd routine!
Thanks Glenn!! Very informative. I knew about compression but never heard of sidechain compression before.
Glenn, thanks for this simple. yet deep explanation. great tutorial
Please keep these coming glen iam learning sooooo much.
Glenn, Glenn... This was taught to me in college about 10 years ago and I NEVER retained it, you just made something that seemed like witchcraft feel accessible. Kudos my man
Very Awesome video. Had to wait till the weekend to watch it so I had theme to really give it full attention. Just stated using Drum leveler and I love it, might have to start exploring the side chaining abilities of it.
All this stuff is super useful and concise. Not many series' on youtube that go over the basic meat and potatoes in mixing. Got lucky with some equipment and space to work so I'm recording an EP this summer, but I'm relatively lost when it comes to what happens after tracking hahaha.
Glenn, the information in this video has opened up my recordings tenfold. It's astounding how much this technique cleans up the low end. Thank you for all you share with the world!
One neat trick for sidechaining kick and bass is to run the bass through a frequency splitter (REAPER has 3 band to 5 band splitters and joiners, I tend to use the free Crossover VST from RS-MET, which allows a 2 way split) and then only use the sidechain on the low end (usually around 150Hz or so, with a pretty steep Q). If you do this you can push the ratio pretty hard, but since you still get a lot of the harmonic content of the bass guitar you don't completely wreck the track. Basically this method allows you sort of homebrew a multiband compressor with the option of using either the effected audio or a separate sidechain per band!
Interesting... I'll have to check that out! Thanks for the tip, Simon!
Great advice
Simon Gunkel Totally screen-shotted this. Many thanks for sharing your wisdom tonal-boss signal masters.
Love love LOVE this video. I've been wanting to dive deeper into sidechaining compression and this definitely helps! Keep kicking ass Glenn!
Glad you liked it! Please SHARE it!
Wow that was one of the most informative videos on side compressions I've seen yet, thanks Glenn 🤘
You're very welcome, Eddy!
I have just started getting back into recording and mixing stuff again and my skills are rather rusty. These videos help so much. Cheers!
Really digging these tutorials man. Am not a rock producer, but find these helpful none the less. Very much appreciate these man!
I've only used side chain compression on kick and bass, but maybe side chain processing is something I could dive more into. Thanks for the video, Glenn.
I've used most "industry standard" DAW's to mix, master and produce. This guy has explained side chain compression clearer than anyone I've seen so far. But it's hard to translate this info to, let's say, Reason 11 where you have to flip the rack to connect output to input track by track until you reach the "master rack." Does anyone have advice on this? Thank you!!
Man, these videos are great. To the point, concise and informative. They're really helping me anchor and solidify stuff I've kind of learned over the years. Kudos!
Thanks so much for doing these tutorials - they're great! Side-chain compression is something I've never really taken advantage of, so this has got me thinking that I should try it out some more on some things.
Thanks so much! I have actually been experiencing this problem in one of my mixes where the bass guitar and the kick were competing with each other. I'm gonna try this out! Thanks for the great videos, your content is awesome. Can't have a SpectreSoundStudios video without dissing bassists lol
great sound! and thanks for the snare trick! I will try it later.
Great video! LOVE that you're doing this in Reaper!!!
Never knew about sidechain expansion. That's pretty awesome.
i have to subscribe as a fellow Reaper user. you have a teaching spirit. that means you care! keep it up....and thank you so much for the demos.
Wow, I need to try this sidechain expasion on room mics, thanks!
I keep coming back to these vids. ❤️❤️
This series is some of your best work, super helpful, thanks Glenn!
One good example of a misused, or used for effect compressor is that typical pumping sound of some EDM tracks. There's a noticeable dip in volume on each kick hit. Kick->Side chain->Master bus compressor.
Glen, Thanks for all you do with your channel. Thanks for all the tips, tricks and knowledge that you pass on to us. Super appreciated!
Thanks man. Almost all my mixing knowledge comes from your videos. I have like 30 A4 size sheets filed till now with notes. And my mixes are starting to sound interesting. Thanks !
I have been recording longer than you, but I think you did a good job describing how to use a sidechain. I don't use it much myself because I like to make that space in the mix with eq unless something is seriously off that can't be fixed with phase alignment. We all have our quarks and way we like to do things. Nice mix on Amadeus by the way!
Amazing! Ive been having difficulty getting vox to sit nicely with a distorted 7 and 6 string. This technique worked great by side-chaining the guitars with the lead vox. Bamm! Thanks Glen!
Awesome video, longing to see more of this series!
man that side-expansion is awesome! never heard of this before and it sounds magnificent, thanx a lot! :)
"the trick is to use it gingerly"
I'm sure that there were some future house/trance DJs that got confused by that statement! LOL.
I am here because I want to destroy the beat in just the right way
Thank you! Please continue, it's very helpful!
Fantastic video, I'm gonna check out your instructional material. Thank You!
Great video man thank you for sharing. I am new to recording and have heard the term side chain but actually seeing you apply it and explain it really just made it click in my brain.
Thank you. You make it easy to understand.
Makes so much since now thank you
Great vid. Wish I had this series when first learning. Used to always confuse file compression with signal compression.
For your a Q+A: how do you feel about singing drummers and how do you deal with mic-ing them in either a studio or live setting
God bless you dude. I know this vid is old but still very helpful.
Would you recommend splitting the bass into low amd high and only sidechain the low end by the kick drum or is straight up sidechaining the whole thing better?
Ah, now there's an idea! I bet that would work excellently.
Many compressors include sidechain filter though, saving this extra step as you can just compress low end of single track. Look out for eq options in your compressor!
I'm starting to learn about audio engineering and making my demos and this was really useful! Thanks!
Glad I could help!
I duplicate the bass track, do a low-pass eq on one, and high-pass on the other, then sidechain compress only the low-pass one. It sure clears the clash between the kick and bass and leaves all the mid and high end information untouched on the bass. What do you think of this trick Glen? Great or just Bogus? lol
That song at the end was so good
Absolutely love it! If I may suggest another topic, that would be stereo widening... what difference is there between that and panorama control? I've heard that you "widen the stereo field to make space for bla bla"... So, how does that witchcraft work?
If you pan you move your audio within a 90° arc in front of you. If you add a copy of the hard panned track, pan it all the way to the other side, flip its polarity and then change its level you can go beyond the stereo base (those 90°s) and extend the perceived position to a full 180°. If you go really far it becomes somewhat disorienting - we hear a sound coming at our ears with reversed polarity and our natural inclination is to tilt our heads, to figure out whether it is coming from the left or right(because "exactly from the left" sounds precisely like "exactly from the right", but "almost exactly from the left" is slightly different from "almost exactly from the right). But if you mix that way, turning our head doesn't help us. You also lose mono compatibility - if you listen in mono the polarity reversal leads to cancellation and the level of the sound drops. I would suggest using this sparingly and only on things that aren't essential. When you do something like record a glockenspiel to play along the open Hi Hat hits for the final chorus that's where you might consider it. It gives the glockenspiel its own space and it becomes something somebody can discover when they listen closely to the track on headphones or with a pair of good speakers in a decent listening position. A lot of "OMG, I never noticed that" moments come from putting things beyond the stereo base. But you don't want to do this on anything that defines the song.
Awesome info Glenn - cheers from Australia.
Excellent stuff Glenn! Very very cool what you do with the room mics, I haven't come across that before and it works beautifully.
Hey. I just bought an SM57 and a Scarlett 2i2. Wondering if you could make a tutorial, start to finish, working with hardware and software for a short beginner track. I would love to see the whole process done by a professional so I can have a better idea of how to start. I'm especially curious about mixing, and things like how loud my amp should be to get a good tone.
Another video for my favorites playlist. Thanks!
This series is fantastic. Thank you so much!
I'm confused on one thing. The Auxiliary. The Kick was sent out on 3/4. Then later, the Snare was also sent out on 3/4. So, are Kick & Snare on 3/4 at the same time and therefor BOTH affecting the bass guitar & the overhead mics? In other words, when you selected the 3/4 Auxiliary for the expander on the overheads, how did it know that you only wanted it to be affected by just the snare?
This is probably more intermediate, but any chance of a video detailing how to hook up and mix with out-board gear?
Thanks again Glenn!
Thank you Glenn for the awesome tutorial keep it up!! Is there anyway you could cover a video on how to bus properly and how much compression is too much compression?
Yes, at some point, I'll throw it on the list!
Never thought to do that with the room mics. I love the tone of the snare in those mics but it's a struggle to find a balance. Great vid!
Fantastic explanation! I have one (unrelated) question. I remember in your rookie mistakes video you quickly ended by saying that “headphones lie”, and not to mix with them. Would you mind explaining why headphones are bad for mixing with?
Good topic. I was wondering if you were gonna explain this to the rookies.
Thanks for these kind of videos Glen. I really find them helpful and interesting to watch. Keep up the good work! :)
Please do a video on MULTICHANNEL COMPRESSION next!! This series is really helpful!!
Very informative. What about for radio DJ use to duck music when talking?
I use sidechaining on vocal and lead guitar delay if I'm doing something extreme, lets you have the big effect during the gaps but the delay gets out of the way for the meat of it.
Hi Glenn Greetings from the UK - been getting alot from your output. Always headbang to the opening blast! Have played around with the Reacomp for this sidechaining thing, but have found a JS plugin called NP1136 Peak Limiter, which seems a bit easier to use I think. Can you comment and maybe pass this on, in one of your next posts please? Am printing a bass drone to test the compressing effect and then soloing it, so that I can get a clear idea of what is happening to the affected instrument.Thnx
I've found the best game to play with Glenn. It's kind of like a drinking game. Anytime he gives bassplayers shit, practice for an hour. Anytime he wears one of his anti-bassist shirts, practice for an extra half hour. Anytime he calls us cheap pricks, check to make sure you have a new set of bass strings for the next time you change them (which you should do REGULARLY, YOU PRICKS.)
Just in the process of his rants about bassists, I've bettered myself as one! Thanks Glenn
nice 1 glenn cymbal control, epic tip, digging your mix man crisp punchy and seperated
Damn, I love this trick!! Super useful Glenn, keep these videos coming!!
so when do you decide to use sidechain compression and when not to? I've done it in the past and have had great results. But what about something that has a lot of double bass (kick drum)? If you use it, you'll never hear the bass guitar, but if you don't, the bass guitar will be covering the bass drum and it'll be muddy...
Really great video. Would love to see recording/mixing tutorials more frequently.
Trying for every Wednesday
this helped me sooooo much!
THANK YOU!!!
Great stuff. Looking forward to the Distressor V's FG Stress comparison though!
I come from a dubstep background and I sidechain with automation. Would this work with metal music as well?