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When adding effect, Is there an order to follow?
What should be the chain off effects?
Like Compression than reverb than EQ than ?? |
#2
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There is no set recipe. It largely depends on exactly what you are trying to accomplish sonically.
Also time based FX like Verb or Delay, IMO should be placed in parallel, on a separate track and a portion of the raw audio is sent via a bus to the reverb track. Tone shaping FX -EQ and Compression I usually place on the individual audio tracks as inserts on that track. As far as Compression and EQ since I primarily do subtractive EQ ( For example I always "high pass filter" ( roll off the low end) to eliminate boom and mud in the lows. So I place EQ first in the signal path, so I am not compressing low frequencies I am not going to use. Additionally I like to place an EQ first on the Reverb track, and roll off both the low and high ends.
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Enjoy the Journey.... Kev... KevWind at Soundcloud KevWind at YouYube https://www.youtube.com/playlist?lis...EZxkPKyieOTgRD System : Studio system Avid Carbon interface , PT Ultimate 2023.12 -Mid 2020 iMac 27" 3.8GHz 8-core i7 10th Gen ,, Ventura 13.2.1 Mobile MBP M1 Pro , PT Ultimate 2023.12 Sonoma 14.4 |
#3
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So no multi-tracks as I'm learning to get mic placement and gain right so that the guitar and Vocals are similar levels.. So EQ would be first? |
#4
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A typical setup for me, just for a clean simple recording, no crazy effects would be: EQ and possibly compression on the channel Channel sends go to a reverb bus. Master output buss has something like Ozone, which has a limiter, EQ, and other stuff. This affects everything, even the reverb. The EQ on a channel is to make changes to that specific track - which might be different in a multi-track setup - while the EQ in Ozone applies to the overall mix. You only have one track, so you can only apply EQ to everything. Ideally, you'd record the guitar and voice on separate tracks so you can EQ each one, apply different amounts of reverb, and so on, according to what sounds best on each.
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#5
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#6
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1. Volume balancing R and L channels of the stereo track or to taste if working with separate mono tracks.
2. Possible delay on one channel (usually in the 0.1 to 0.3 millisecond range) if helps sound. 3. Equalization (usually some bass roll off even if nothing else done). 4. Effects (which for me is just a reverb or a mix of two or three reverbs). I don't use compression.
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Derek Coombs Youtube -> Website -> Music -> Tabs Guitars by Mark Blanchard, Albert&Mueller, Paul Woolson, Collings, Composite Acoustics, and Derek Coombs "Reality is that which when you stop believing in it, doesn't go away." Woods hands pick by eye and ear
Made to one with pride and love To be that we hold so dear A voice from heavens above Last edited by rick-slo; 07-05-2019 at 01:42 PM. |
#7
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Even if you record at the same time (If it were me), I would have each mic going to its own mono track. I would have an EQ first on each track, and maybe a compressor on the vocal mic track. I would still as I suggested and Doug reiterated, have the reverb on it's own track and send the vocal and the guitar to it separately This allows you to EQ the guitar and vocal separately. And can also control the amount of reverb separately as well, by using the send levels separately on the vocal track and the guitar track To do this you can set the reverb track level to -0- db (unity gain) and the reverb mix level to 100% wet , then adjust the send levels (say -14 db to start with, for the guitar and maybe -12 or -10 on the vocal ) then fine tune the two send levels to get just the amount of reverb balanced so that it sounds like the vocal and the guitar are in the same space. This is what my session would look like opps too small I will re do snap shots in a new post
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Enjoy the Journey.... Kev... KevWind at Soundcloud KevWind at YouYube https://www.youtube.com/playlist?lis...EZxkPKyieOTgRD System : Studio system Avid Carbon interface , PT Ultimate 2023.12 -Mid 2020 iMac 27" 3.8GHz 8-core i7 10th Gen ,, Ventura 13.2.1 Mobile MBP M1 Pro , PT Ultimate 2023.12 Sonoma 14.4 Last edited by KevWind; 07-05-2019 at 02:26 PM. |
#8
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I will always add reverb last, if I use it.
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#9
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Here are the tracks and the send levels and the Reverb settings (these are not set in stone just suggested starting points to try
Here are the EQs for the two tracks Here is what I like for EQ on reverb
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Enjoy the Journey.... Kev... KevWind at Soundcloud KevWind at YouYube https://www.youtube.com/playlist?lis...EZxkPKyieOTgRD System : Studio system Avid Carbon interface , PT Ultimate 2023.12 -Mid 2020 iMac 27" 3.8GHz 8-core i7 10th Gen ,, Ventura 13.2.1 Mobile MBP M1 Pro , PT Ultimate 2023.12 Sonoma 14.4 Last edited by KevWind; 07-05-2019 at 02:27 PM. |
#10
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Here's a quote from a Berklee Online article about choosing the order of EQ and compression plugins.
"As a rule, using EQ in front of your compressor produces a warmer, rounder tone, while using EQ after your compressor produces a cleaner, clearer sound. So, the question you need to ask yourself for each channel in your mix is, “Do I want to EQ the compressed signal or do I want to compress the EQed signal? What sound do I want for this signal?” https://online.berklee.edu/takenote/...r-compression/ A general rule of thumb I follow is that tonal effect plugins (EQ, compression, saturation, etc) are inserted directly on the channel strip while time based effect plugins (reverb, delay, chorus, etc.) are sent via busses to aux channels. The exception is when you want to do parallel processing with the former as well as the latter. |
#11
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I'd be very careful with compression - you can get away with a lot of it on vocals and it can definitely help smooth out a vocal track. On guitar a little goes a *long* way, and often isn't needed at all (other than in a possible final mastering pass, where almost everything tends to have some). Another reason to record to separate tracks, hopefully with little or no bleed between them.
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Music: Spotify, Bandcamp Videos: You Tube Channel Books: Hymns for Fingerstyle Guitar (std tuning), Christmas Carols for Fingerstyle Guitar (std tuning), A DADGAD Christmas, Alternate Tunings book Online Course: Alternate Tunings for Fingerstyle Guitar |
#12
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#13
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just enough to begin to move it slightly forward in the sound field (or sometimes not at all) , and a relatively slow attack and release. Although I do tend to run every session through my Mix Bus, analog variable mu, mastering tube comp., again set very mild . Which seems to me (and maybe it's just conformation bias) adds just a bit more 3 D depth and presence
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Enjoy the Journey.... Kev... KevWind at Soundcloud KevWind at YouYube https://www.youtube.com/playlist?lis...EZxkPKyieOTgRD System : Studio system Avid Carbon interface , PT Ultimate 2023.12 -Mid 2020 iMac 27" 3.8GHz 8-core i7 10th Gen ,, Ventura 13.2.1 Mobile MBP M1 Pro , PT Ultimate 2023.12 Sonoma 14.4 Last edited by KevWind; 07-06-2019 at 08:02 AM. |
#14
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The need for compression/limiting on guitar tracks depends very much on musical style and dynamics, not to mention the particulars of recording approach, room size, mic placement etc. While I wholeheartedly agree that a little compression goes a long way and may not be needed at all for less dynamic instrumental guitar styles there are instances when it's a better option than digital clipping.
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#15
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__________________
Derek Coombs Youtube -> Website -> Music -> Tabs Guitars by Mark Blanchard, Albert&Mueller, Paul Woolson, Collings, Composite Acoustics, and Derek Coombs "Reality is that which when you stop believing in it, doesn't go away." Woods hands pick by eye and ear
Made to one with pride and love To be that we hold so dear A voice from heavens above |