What order do you folks recommend doing things in the signal chain..
EQ
Dynamics
effects
etc.
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IF the compression helps to create a major part of the TONE, the
IF the compression helps to create a major part of the TONE, then I agree with Recorderman. Dynamics before EQ, as above.
HOWEVER...
When a part is heavily compressed, it then becomes VERY DIFFICULT to "pull" an idividual frequency out of that sound, using an equalizer.
For example, the compressed sound is like a cake of Top Ramen, before you put it in the water. Now try to get an individual noodle out, without breaking it. Can't be done.
This is why mastering engineers bitch about mixes that have too much compression across the stereo bus. Makes it impossible to bring out the tone and dynamic of the song, in a respectful way.
I realize that Rob is most likely asking about signal processing on individual parts here, and not about bus compression. But I believe the lesson still holds...
If you compress before EQ, make sure you're getting exactly the tone you want, because it will be hard to change it later. The EQ will have trouble pulling the noodle out of the Ramen...
hth,
I use the EQ for dynamic control (providing you have enough band
I use the EQ for dynamic control (providing you have enough bands and know how to)
If I need to compress some, I back off on the EQ tastefully, bringing "unwanteds" down. If I need a kick in the dynamics, the EQ is my best friend..providing I do it tastefully and consider it's place for that instrument in the mix.
I record dry and strait. I do all my goodies in post.
Thanks for the feedback guys. I record dry as well, but I want
Thanks for the feedback guys. I record dry as well, but I want to make sure that I do things in the right order - if it even matters. So, if I record dry to Nuendo, then dynamics, then eq, then effects (I go sparingly on these as I record mostly acoustic music). Sound like a plan? Maybe it doesn't matter that much when doing all of the processing via computer. Does the computer do all of the processing at the same time, or does it do the processing in the order in which you punched it in? Just curious. Thanks again.
Rob
I tend toward Comp > EQ. Although, you gotta watch what you
I tend toward Comp > EQ.
Although, you gotta watch what you're doing with this since you can easily get overs if you crank up the compressor's output too high. Even subtractive EQing somehow boosts the signal sometimes. Just make sure you give yourself some headroom...
As far as effects go, it really doesn't apply in most cases since it is just that - an effect - which is usually run parallel to the original signal chain - not in series as are compression & EQ (which are processes). This is the case most of the time - but there are exceptions....
I also compress *before* EQ in *most* cases (High-pass filtering
I also compress *before* EQ in *most* cases (High-pass filtering is sometimes an exception). Here is why:
When you boost with an EQ, you are really just increasing the volume of specific frequency ranges. Now, consider how a compressor works...it will attempt to squash the highest peaks. So after spending a long time getting the EQ just right, the compressor comes along and undoes all the hard work I just did!
Now that is a very simplified explaination, and it certainly does not apply in all cases! Experiment! Be bold! Try it both ways and always use what sounds good to your ears!
Rob, Different strokes for different folks. Different chops
Rob,
Different strokes for different folks. Different chops for different results. It all depends on what sounds best for the tune. Sometimes eq first sounds best on a given element. Within the same tune, a different track may require just the opposite. Don't be afraid to experiment. Find out what you like best! Go for the individual approach not some "follow the pack" technique. What may sound real good on Joes system bight bite on yours. Fats
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I tend towards dynmics then eq...although unique situations call
I tend towards dynmics then eq...although unique situations call for unique solutions.