Short-delay effects could also go either way. In that case a doubling plug-in that stereoizes a mono track could be inserted near the top of the chain, and the left and right sides processed differently-an example might be creating a wide-panned doubled guitar from a mono track and using different amp models on the left and right, for greater differentiation between the two “parts”. However, some DAWs include plug-in processors that can apply different settings to the left and right sides of a stereo signal (multi-mono in Pro Tools or Dual Mono in Logic). Short-delay FX could go either way.ĭoubling-like from a mono in / stereo out delay plug-in-could be created by inserting the plug-in at the end of the chain on a mono track, to stereoize and spread out the already-processed audio. An echo effect would usually be placed after other plug-ins. When used inline (within a track) delay effects might placed earlier or later in the chain, depending on the application. Delay FXĭelay-based FX include short-delay effects like chorus and flanging, plus doubling, as well as longer-delay effects like echo. The specific scenario will be the ultimate guide.
Or an EQ that follows a compressor might be used for some dramatic tonal changes (boosts) and another compressor following it could be set to operate more as a limiter to tame any potential overloads at peaky frequencies. There might be a a corrective EQ ahead of a compressor and then another EQ following it for creative mix-based tonal tweaks. Often in Mastering EQ might be inserted ahead of compression-EQ tweaks in Mastering are typically very small (often only a dB or so) and would be less likely to mess up any compression settings.Īnd it’s not uncommon to have more than one EQ and/or compressor on the same track. If you’re using an EQ to make corrective adjustments rather than creative (mix-based) tweaks, and if those are likely to be set-and-forget adjustments which are not touched after they’re set, then it might be better to have the EQ precede the Compressor, so the compression settings will factor in the EQ. Of course there are situations when that order might not be the best approach. This is generally good advice, especially for newbies.
If EQ settings-larger boosts or cuts-change the overall level of a signal enough, the response of a compression effect already dialed up may be altered unintentionally. The logic behind this is based on the fact that compression settings are dependent on a Threshold setting, which determines the level at which gain reduction kicks in. While there’s no hard and fast rule, conventional wisdom often recommends putting the Compressor first, followed by the EQ. When it comes to the two most common types of processing people always wonder which should come first-EQ or Compression. So the common order for Dynamics processors would be Expander/Gate followed by Compressor. Since a Compressor reduces dynamic range, bringing the louder and quieter parts of the audio closer together, having a Compressor precede an Expander/Gate would to make it harder find an effective threshold to differentiate between the louder and softer parts of the audio-you’d want to run the Expander/Gate before any compression is applied. In either case, getting good clean results from the Expander/Gate depends on the user finding a threshold setting between the louder-level main signal for that track, and the lower-level undesirable background sound. An Expander with less extreme settings might be employed to reduce (rather than remove) in-between sounds like breaths in a vocal part.
If there’s background sound in a track, like leakage in a mic, a Dynamics processor-an Expander or Noise Gate-might be applied to remove it.
Since subsonics can interfere with the operation of dynamics processors that apply gain change above or below a level threshold, eliminating them first may allow for better results from Compressors and Gates. A variation might have a Filter/EQ ahead of the first Dynamics plug-in, specifically if that Filter is there to eliminate subsonics-like a highpass (lo-cut) filter that removes rumble or footfalls from a microphone recording (such as a vocal or acoustic guitar).
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