Effects and where to put them..

[Wrighty]

Hi all

I have a question on where to place effects when mixing/mastering.

The file is a 2 track (stereo) file of one instrument through stereo mics.

I use Auria and have three placement options;

1. In the channel strip for each track as inserts
2. In the master channel strip as inserts (affecting both tracks simultaneously)
3. In the AUX send for the master channel allowing me to route as much or as little of the effect to each channel via the aux knob on each channel

Is there any advantage to the aux feed method as opposed to the master or channel insert? I can dial in specific amounts using either method and if I want to apply different efffects to each side of the stereo track I can do that via each track insert method.

I am looking for the best audio quality and flexibility.

What are your preferred methods for a single stereo track, and why?

Many thanks..

[MikeBmusic]

Not sure what DAW you are using, but you should be able to send from the AUX of each channel, too, not just from the master.

Some effects, like reverb, work best when you can dial in just a little effect, blended in with the original unprocessed signal - easiest to do on an effects bus with the channel sends. That way you can dial in each channel's amount of effect separately (more from left than right, as an example) TO the same effect, with only one instance of the effect being used.

[KevWind]

It depends on what FX and what goal for the use of FX.
As a very general practice ( with many valid exceptions)
frequency and dynamics (Eq and Compression )FX can be placed directly on the tracks themselves, and time based FX (Reverb and Delay) can be placed on aux tracks or sends or busses etc.

Now with a simple 2 track recording using stereo mics (of the same make/model) you could also place EQ and Comp on an aux because ( there are two equally valid approaches ) one is EQ and or Compress them exactly the same for which an AUX works fine.
The other approach is to place Eq and or Compressor on each individual track and set them slightly different to help bring out more stereo separation

Then there is also the equally valid school of thought that for solo acoustic guitar if you get the mic placement and gain structure correct you may not need Eq or compression and depending on room may not need reverb or delay
So the reality is you need to do a fair amount of experimenting to get a feel for which direction you personally prefer .

[Wrighty]

Originally Posted by KevWind

It depends on what FX and what goal for the use of FX.
As a very general practice ( with many valid exceptions)
frequency and dynamics (Eq and Compression )FX can be placed directly on the tracks themselves, and time based FX (Reverb and Delay) can be placed on aux tracks or sends or busses etc.

Now with a simple 2 track recording using stereo mics (of the same make/model) you could also place EQ and Comp on an aux because ( there are two equally valid approaches ) one is EQ and or Compress them exactly the same for which an AUX works fine.
The other approach is to place Eq and or Compressor on each individual track and set them slightly different to help bring out more stereo separation

Then there is also the equally valid school of thought that for solo acoustic guitar if you get the mic placement and gain structure correct you may not need Eq or compression and depending on room may not need reverb or delay
So the reality is you need to do a fair amount of experimenting to get a feel for which direction you personally prefer .

Thanks Kev - that makes sense.

[Wrighty]

Originally Posted by MikeBmusic

Not sure what DAW you are using, but you should be able to send from the AUX of each channel, too, not just from the master.



Some effects, like reverb, work best when you can dial in just a little effect, blended in with the original unprocessed signal - easiest to do on an effects bus with the channel sends. That way you can dial in each channel's amount of effect separately (more from left than right, as an example) TO the same effect, with only one instance of the effect being used.

Thanks Mike..

[BillRomansky]

I’ve learned to use effects as sparingly as possible. I’ll use them when mixing only, because effects while recording other tracks can skew the outcome. That being said, if I do use an effect AS an effect, I’ll do it in a big way, and often only on maybe on bar of the vocal or instrument. This keeps things very clean overall. Effects shouldn’t be used to mask bad tracks, and compressors and such should be used to bring up a weak track, not effects.

[rick-slo]

I record a stereo track and apply effects directly on that track. I don't find a need for aux send and return for solo guitar effects. Perhaps one on a equalization/reverb
combo but the main reverbs I use have their own equalization controls. In my hands the more complication the more chance for boo boos.

[DupleMeter]

Most professional mix engineers will always place reverbs on AUX busses. They also typically EQ reverbs differently (google "abbey roads reverb technique" for a lot of info). They typically compress them separately too. It's what allows them to put a really lush reverb on a song and not have it take over (google "ducking compressor" for info on that).

Things like EQs, compressors, limiters are typically placed right on the track. In fact EQs simply aren't effective unless you put them inline on your source track.

Exception to every rule example: Andrew Scheps never directly compresses any source...but always parallel compresses using an AUX buss. He took the New York Drums idea (google "new york drums compression" for an explanation) and applied it to everything he wants to compress, though less aggressively. It works for him...as evidenced by his Grammys. You can also google "Andrew Scheps rear buss compression" for insight on why & how of his compression technique.

Other effects can go wherever they work best. For instance, I typically place any modulation effects (chorus, flanger, phases, etc) on a buss and mix them in...again, EQing them differently to bring out exactly what I want from them.

I typically place a limiter on my master set to keep levels from exceeding -1dBFS. I call it my CYA limiter. I also have a console emulator on my mix buss (McDSP Analog Channel), which allows me to control the final level out and adds some nice analog-esque harmonic distortion. Depending on the number of sources/instruments I may also have a buss compressor on there (like an API or SSL) just kissing the peaks ever so lightly (like 0.5 to 1 dB total). But for a single instrument I would probably not do that.

The last thing on my Master is a loudness meter (Waves WLM Plus), because I mix a lot for broadcast I have to adhere to very strict level specs. For general mixing you may not need any extra metering.

Experiment. Have fun. It's all good.