For example, digital EQs are excellent for corrective work because they are precise, flexible, and transparent sounding. It’s common practice to use a combination of digital and analog-style EQs. Analog modeled EQs also add, warmth, presence, punch, and sheen to your music. Analog modeled equalizers emulate the circuity and musical character of their classic hardware counterparts. The best way to shape tone is with an analog modeled EQ. For example, it’s common to boost the high end to add presence in pop and electronic music. Tonal equalization adds presence and character. Additive EQĪfter doing corrective work with subtractive equalization and compression, try shaping the tone with additive equalization. Inserting the compressor after a subtractive EQ prevents unwanted frequencies from triggering the compression. Use a compressor to control dynamic range and catch the loudest peaks. This first stage of compression focuses on corrective work. However, used incorrectly can reduce the impact of the sound, so only apply compression when needed. It also adds loudness, cohesiveness, punch, and helps shape the tone. CompressionĬompression smooths out the dynamic range of a sound to maintain constant levels. It’s often better to boost with a second EQ after making corrective moves with subtractive EQing and compression. Avoid boosting in this first stage of equalization.
Use a parametric EQ to cut unwanted sub frequencies and harsh resonances. The goal is to clean up the sound and minimize problematic frequencies that might get boosted by the compressor.
Subtractive EQing removes problematic frequencies, creates clarity, and adds presence. However, it’s also suitable to saturate after EQing. Inserting a saturation plugin before an EQ allows you to cut or minimize unwanted harmonic frequencies created by saturation. It also helps sound translate on small speakers that can’t reproduce lower frequencies like earbuds, laptops, and phones. These harmonic frequencies make a digital-sounding mix sound full, fat, and warm. Saturation enhances sounds by adding even and odd order harmonics. Driving sounds through tubes, transistors, and circuitry has long been the key ingredient in achieving analog sounding mixes. Saturation adds presence, character, warmth, excitement, punch, and cohesion.
Overloading a plugins input signal will give you poor results. Avoid running a “hot” signal into a plugin. You can also insert a gain plugin anywhere needed along the effects chain to prevent clipping. Inserting a gain plugin first in the chain allows you to adjust your levels before further processing. It also ensures the audio signal flow is at an optimum level without clipping as it passes through various processors and mixer stages. Maintaining the gain structure gives your mix sufficient headroom and dynamic range for mixing. Gain staging is managing levels at each stage of the signal path. Swap the order and remove or add plugins as needed. Using the same order of plugins may not work for every sound or situation. Moreover, it’s important to remember these are general mixing suggestions and not hard rules. This workflow provides a good starting point. However, there is a traditional order of effects widely adapted. The order you insert your plugins depends on the source material, what you’re trying to achieve, and what sounds best to your ears. What’s the correct order for plugins in an effects chain? This topic is confusing because there is no absolute rule. Knowing how the order of plugins influence sound can help you make mix decisions and troubleshoot problems. A plugin will affect the sound differently depending on its position along the effects chain. The order of your plugins in an effects chain does matter.
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