[Dutchbeat]

i hope i can ask a rather dumb question....i probably can google information about this, but i have a feeling people out here will know or have tips based on experience

but, nowadays mixing in a computer daw it all became available to have multiple fxs on a track, but what is the logic chain of Fxs, in what order? i mean if one uses multiple on track...i know this is probably a stupid question, but i guess thinks like reverb are in the end of the chain? and EQ-ing is first in line? but what about compression?? after EQ-ing? or EQ-ing after compression??

sorry but i really don't know, i just try in the blind. And suppose, i say suppose... , i would need a load of rea-tune on my voice.... I know that is a ridiculous thought, but suppose   , it is just a hypothetical question   , but suppose anyway that one day when i have a really bad cold   and i would need just a minor pinch of reatune or autotune in attempt to sing even better on pitch...where would that go in a chain of fxs....all i know is: reverb comes last...i guess  

[Boydie]

This is a tricky one as it really does depend on what you want to achieve in your mix

Different people have different approaches

My personal preference is...

I do all my "fixing" first - eg: comping, deleting sections, sorting the arrangement, pitch correction etc.

I then like to do my "cleaning" - eg: apply a noise gate

I then hit my compressor to smooth things out a little - I try to be careful with the "make up" gain after the compressor as it is easy to get fooled into thinking something sounds good just because it is louder!

I then like to EQ after the compressor

I will then decide whether I want any tape emulation or tube drive

At the end of the "chain" I may have a "console emulator" for a little "analogue warmth" - the effect is super subtle and often "felt" rather than "heard"

Gain Staging - at each point in the chain I am careful to check the "gain staging" - eg: it is easy to overcook the signal playing with the toys so you don't want it too hot entering the next stage - you can easily get clipping, which can be a pain to track down if it is hidde in your effects chain!


I have started more or less exclusively using REVERBS and DELAYS as "Send Effects" so that I can mix to taste and get consistent effects across my mixes (eg use the same "ambient reverb" for all tracks)

I then have the option to change whether my sends are "PRE" or "POST" my effects


I may then add some more compression at various stages - eg I might use a harsh compression to catch "peaks" and then a gentler compression somewhere else in the chain for a different effect

The rule of thumb when deciding the order is to ask yourself what do you want...

eg do you want reverb on your delay? - if so put the reverb first

Do you want to compress first (which may bring up the background noise) and then gate it our - OR - do you want to gate the background noise out before compressing

Different mixes might need different solutions

The best thing to do (IMHO) is find an order you like to use as a "go to" but don't be afraid to change things around to see how things sound

[tokenangmoh]

Yup, same for me.

Only thing I'd add is that if I've got a track that needs a lot of EQing, I tend to put EQ before the compressor, so the errant frequencies don't feed the compressor and possibly make the situation worse.

Matt

[Boydie]

That is a good example of different choices for different reasons

A compressor will "colour" the sound of (and respond differently to) any eq changes

So...

If you are using EQ for "correction" - as per Matt's example to address "errant frequencies" - you could put the EQ before the compressor

However

If you are using EQ to "shape" the sound you may be better to find the compression setting you like and then EQ after the compressor to shape the sound

If you shape the sound with the EQ before the compressor it could react different so you may have to tweak the compressor settings to get it to do the same job

Choices, choices

There is no right or wrong

[GilgaFrank]

Gates and compressors first, then modulation effects like chorus, then delays, then reverb. EQ where you want it, as outlined above.

Think of how a mixing desk is configured, the insert points are at the top and that's where your compressor/expander/gate goes. There's little point in having these on AUX sends as you want the volume change to affect the entire signal, you wouldn't want 50% compressed signal mixed with 50% dry.

Reverbs and delays go last in the chain to give the most natural sound. If you're using both then it's probably best to add them in series i.e. delay signal passed into the reverb.

[Boydie]

Reverbs and delays go last in the chain to give the most natural sound

Unless you are not going for a natural sound 

There's little point in having these on AUX sends as you want the volume change to affect the entire signal, you wouldn't want 50% compressed signal mixed with 50% dry.

Actually - you might...

In some genres/styles "Parallel Compression" (often referred to as "New York Compression") is a key component of the sound

In this case you do essentially have a mix of "dry" and "wet" compressed signals

It is often done by having a bus set up with a compressor "slamming" the signal

You then use a "send" to send some of the signal to this bus and then balance this bus with the original

It is often used on drums to balance the "natural" sound with a more compressed sound

Some compressors also now have a "mix" control so that you can do direct parallel compression


I am being pedantic on purpose to show that the order and your approach should all be based on what you want to achieve in "the mix"

However, I think GilgaFrank has given another great workflow that is an excellent example of a more "classic" and "natural" approach, which would definitely serve you well if you want a natural sounding mix

[GilgaFrank]

Now you mention it I remember that EZDrummer has a separate send for "comp mix" to achieve precisely that effect. As with all things in music, learn the rules then learn when you can break them!

[tone]

My current method involves learning the hard way. It wasn't till I read this thread that I even realised I've been putting my EQ's before my compressors. And now I realise how this doesn't make a whole lot of sense (and why EQ hasn't been behaving quite how I expected it to :p )

Thanks for the education, folks

[GilgaFrank]

These are tried and tested studio principles, no reason why you shouldn't rip up the rule book but it helps to know which rules you're breaking I suppose. Think of a guitar pedal board, you'd always have the volume-affecting effects first so compressors then preamp EQ. Then you'd add chorus and flangers in the effects loop because compressing a chorused signal equals NOISE aplenty. Then you'd add a delay to double up the lead lines with a few repeats and the reverb on the end to make it sound natural.

Obviously if you're using VST synths where noise isn't so much of an issue then you can do whatever you want, a slow flange after a delay would give the repeated sounds a different "sweep" for each echo. Might be interesting, I should probably try that sometime.