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Holy Bot

Bedroom music production, gaming and random shit

Month

April 2013

Camping for Victory

During last night’s Black Ops II session this mad bro was hating on me (translated from Norwegian): “OMG! Camper bitch!”.

Not a big deal really, it has happened before. But let’s ponder on this one: What is a camper? Am I a camper? And what seems to be the problem with camping?

Last time I checked Urban Dictionary, there where over 70 definitions on camper – too many to read. But the first post is spot on:

“A term given to those in an online multiplayer game (usually FPS) who will place themselves in a strategic position and wait for an extended period of time until a target enters his field of view. The position usually allows one to surprise the target and allows the ‘camper’ to eliminate him with ease. There are variants of this such as camping an item to repeatedly gain its benefits and defending a critical location. […] It isn’t illegal to position yourself in such a way that you have an advantage, that’s smart thinking and it’s part of the game.”

Another post suggests that to avoid being labeled camper, you need to run around like a headless chicken waiting to be shot by an experienced clan gamer, whom will then call you a noob instead.

Moreover, how could people use a sniper rifle, except for quickscoping, if they weren’t allowed to look for advantage points? So hell yeah, I camp when the situation demands it (and some might say, a little more than that).

I play to win and to enjoy myself, a healthy dose of camping fits my play style. This doesn’t mean that I’m sitting in a corner every single match, waiting on a noob. As my boy Wings of Redemption truthfully put it “I do camp when I need to camp”.

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But Why, What’s This?

Here’s a reminder, I’m Pälsen and I write. The topics are split into different categories.

  • The Music Production holds posts about producing with a bedroom/home studio approach. Here you’ll find tips, tricks, tutorials, songs, gear reviews et cetera. 
  • Gaming contains input on video games (and related subjects), such as news, rants, reviews, tips, walkthroughs, secrets…
  • And the last, All Posts, hides uncategorized shit.

Politics aside, I’m not very spiritual, I like the finer things. You won’t agree on everything – and that’s quite alright. Furthermore, English isn’t my native language so bear with me.

I started this blog in January 2013. Try to enjoy.

About Side-Chain Compression

There’s a hyperinflation of side-chain compression in popular music. And sometimes it sounds – more or less – like loose cables or dropouts. Still, used properly, side-chain compression could be the factor to a floor-filler.

So about compression, it’s a big part of today’s music. It keeps the volume levels at bay and making sure shit sounds tight. And loud (without increasing its peak amplitude). At the same time the dynamic range is reduced, and dare I say, music do tend to sound less, well, dynamic, than classics from yesterday. Whatever.

In normal compression, the incoming audio signal is used as source for the threshold and ratio. Side-chaining (or keying) is a technique that uses a different audio signal to trigger/key the compressor. Whilst the incoming audio is still affected, it’s the side-chained audio signal that determines the compressor’s response; that is, how strongly it will reduce the gain on its output signal.

The premise is basically a kick drum that triggers the compressor of a bass, i.e. bass ducking. This allows the kick through – on the same low frequencies as the bass – without phase interference or a too muddy low-end. You can get a rhythmically pumping or pulsating effect if you duck out other instruments in the mix as well.

Remember that you can have other shit than the kick to trigger the compressor. Or, if you prefer, you can even program a specific pattern for this.

It’s kinda hard to generally guide to how to achieve a side-chain compression due to the many different DAWs out there. But briefly you should rig a compressor to your bass (or mix bus), and connect a different audio source to the side-chain input. Then set the compressor to a very low threshold (around -35 dB) and a high ratio (60:1), combined with a short attack (1 ms) and a longer release time (600 ms). But go ahead and experiment with these settings, adjust to taste. Also the length of the audio source, e.g. kick drum sample, will have some affect.

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