Post by sentientsound on May 10, 2024 13:55:20 GMT -6
I'm curious to discuss what (if anything) people are doing pre- and post-FX on sends.
I'll kick this off with some ideas first:
I like having Nova GE before the FX on auxes for high and low cut, notching, or dynamic low mid or de-essing as needed feeding into FX.
Following the FX I'm usually using a channel strip or EQ that has some L/R differences for an ehnaced width feeling. TDR Slick EQ GE works great here and has a useful saturation section. Korneff AIP is also a great one-stop-shop for this application.
Distortion pre or post reverbs and delays is fun to experiment with.
Transient manipulation plugins can be useful for taking away the attack and getting a smoother reverb tail on percussive sources.
Any channel strip with compression and gating can be nice for controlling the envelope or sustain of reverbs and delays, and to keep any noise down during quiet passages when using vintage echo plugins or outboard units.
Spectral balancing tools like Gullfoss, Soothe, or TEOTE can tame weird resonances on synths, guitars, etc. before going into reverbs.
Adding the Silver Bullet or Pulsar Modular MDN Sidecar after FX can give a nice enhancement of spaciousness without changing the sonics too much. The Silver Bullet gets bonus points for having the ability to add cyclic modulation or the more "effecty" Color modules when some special sauce is needed.
Korneff WOW Thing or other imaging plugins can be a great way to make FX returns stand out, if you're dealing with a busy mix and not going for natural sounding ambience.
Eventide's SP2016 Room is a great simple follow-up after mono delays, just adding a bit of wetness then tweaking the distance slider to dial in depth.
That's all I can think of at the moment besides ducking returns to a send source for maintaining clarity. Anyone else processing their sends like this?
I'll kick this off with some ideas first:
I like having Nova GE before the FX on auxes for high and low cut, notching, or dynamic low mid or de-essing as needed feeding into FX.
Following the FX I'm usually using a channel strip or EQ that has some L/R differences for an ehnaced width feeling. TDR Slick EQ GE works great here and has a useful saturation section. Korneff AIP is also a great one-stop-shop for this application.
Distortion pre or post reverbs and delays is fun to experiment with.
Transient manipulation plugins can be useful for taking away the attack and getting a smoother reverb tail on percussive sources.
Any channel strip with compression and gating can be nice for controlling the envelope or sustain of reverbs and delays, and to keep any noise down during quiet passages when using vintage echo plugins or outboard units.
Spectral balancing tools like Gullfoss, Soothe, or TEOTE can tame weird resonances on synths, guitars, etc. before going into reverbs.
Adding the Silver Bullet or Pulsar Modular MDN Sidecar after FX can give a nice enhancement of spaciousness without changing the sonics too much. The Silver Bullet gets bonus points for having the ability to add cyclic modulation or the more "effecty" Color modules when some special sauce is needed.
Korneff WOW Thing or other imaging plugins can be a great way to make FX returns stand out, if you're dealing with a busy mix and not going for natural sounding ambience.
Eventide's SP2016 Room is a great simple follow-up after mono delays, just adding a bit of wetness then tweaking the distance slider to dial in depth.
That's all I can think of at the moment besides ducking returns to a send source for maintaining clarity. Anyone else processing their sends like this?
