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Plug in Chain Order Suggestions
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Medea
Aedem/Medea
Started Topics :
127
Posts :
1132
Posted : Jul 9, 2008 18:07
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Certainly not. How can you judge how they all interact if you bounce them after each step? You need to hear the full chain to make the correct adjustments.
Why would it be more secure? I don't see what you mean.
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Don't know, maybe some latency issues or whatever. Just thoughts and prejudices, nothing logical =))
  http://soundcloud.com/aedem |
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Tomos
IsraTrance Full Member
Started Topics :
84
Posts :
981
Posted : Jul 9, 2008 20:49
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Thanks Undertow, this is what I was after. Your knowledge is so solid, its weird that when you explain it, things seem so logical, yet when I try to be methodical and work through what I think will happen... audio is very counter intuitive sometimes.
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On 2008-07-08 05:34:16, Tomos wrote:
Sound > Send Effect > reverb > EQ
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Yeah, sorry. That was a typo that I couldn't edit when I spotted it. Underneath it does say I EQ before reverb.
After the reverb I just high/low pass.
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I tend to use one or two reverbs max. Reverb can clutter up a mix real quick! Also I don't use reverb on all elements. For instance, very often I will only reverberate the snare in drums. If done well, it will give the illusion that there is reverb on all elements but without the mess and clutter. 
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Agreed.
I never use them all at the same time, usually as the song progresses, I might switch reverbs or use a particular send to create an effect. I should say 2 MAIN reverbs, the rest are for interesting effects.
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How often do you use an expander?
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Well, only recently I've been enjoying putting it on certain kicks. Just to bring up the very end of the lows. It a 'rule breaker' but it sounds great on the monitors, great in the car and good in the headphones.. so I can't really fault it.
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I usually use an EQ with built in filters. Btw, the interaction between the filters and peak EQs can be very useful. Some EQ shapes can only be achieved this way. (Or combining shelves and peak EQs etc).
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True, a lot of EQs have filters, but if I eventually automate the filter to a sweep effect I might want a different sounding filter for that. In which case.. an order applies.
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I have no real rules for this but I am much more likely to do it the other way round: Clean EQ to get rid of crap, compress and then a more colourful EQ.
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Logical. I agree. But maybe a wide colourful boost would increase the bad parts differently before you decide what to remove. Hmm.. Different sounds, different rules.
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They can. Try experimenting with side-chain EQ/filters. You can tune how the compressor affects the sound by tuning the side-chain signal.
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Side chain EQ? You mean like a De-esser?
Can you suggest one to read about.
Somebody mentioned I use a lot of compression in master chain but they are really VERY low ratios and at different times so they work differently. slow attack for peaks, long attack long release for general smoothing.
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I never use any stereo enhancing effects on my master (for my own projects). I much prefer effecting certain sounds and leave the rest untouched. This gives a _wider_ stereo field! and keeps the mono elements cleaner and punchier.
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How do you process sounds to produce a wider stereo effect?
Generally I would pan a sound hard, then put a delay/reverb on the opposite side for a kind of bounce across the field.
So you're an Elephant compressor guy?
I really couldn't make up my mind about it.
I don't actually like L2, but I can't mind anything I like better 
I ordered my UAD, so maybe I'll try the precision limiter demo. |
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UnderTow
Started Topics :
9
Posts :
1448
Posted : Jul 10, 2008 02:09
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By side-chain EQ/filtering I mean like you have in MasterComp: http://www.pspaudioware.com/images/pspmastercomp.jpg
You can filter the side-chain signal before it hits the compression algorithm (top right).
One way you can use this is to take out the low-end so that the compressor doesn't pump on each kick-drum hit but this also affects the way the output sounds. It actually enhances the bass a bit. (And the same goes for filtering out the highs).
There are a few compressors with built-in side-chain filtering or you can use any compressor with side-chain functionality (and a host that supports it).
As for processing for a wider field, that really depends. Some synths do it themselves by panning the oscillators or you can use stereo width enhancement tools or the tricks that you mention. There are many ways.
The important thing is that if you have a wide sound (like say a pad) over more monophonic sounds, the width is more apparent than if you make everything wider. If you apply stereo enhancement to the whole mix, things tend to get blurry and less focused.
UnderTow |
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