Was playing around with Side Chain compression yesterday on the bassline of an electrohouse track, and it sure does give a track movement, dynamics and energy.
I wonder if some kind of inadvertant compression & limiting of that sort is what made pop of the 50s & 60s sound so good. Equipment was so basic that there had to be some of kind of crude compression and pumping going on, which they probably got the hang of to enhance the sound.
Listen to Bo Diddley’s ‘Bo Diddley’. Although I think it’s more of a tremolo on the guitar than actual deliberate pumping compression, it don’t half give it a nice a groove. And in this case the tremolo isn’t that different from the effect of heavily pumping compression.
Just a thought!