I'm finding there are very few effects that I want to apply to all channels at the same level. I tend to put the vinyl simulator (unused) and a high pass filter.
What do people put in their master effects section?
9 times of 10 I have a compressor there and sometimes I have a parametric eq there to take down offending frequencies. But these effects only comes in when it's time for mastering, before that phase I use to have two paraEQ's to compensate for some issues with my cans. I'll write a short tutuorial how I do this later on if anyone is interested.
Since I cut the bass fairly drastically on all instrument channels (to reduce any possible artifacts), I have a bass-boosting parametric EQ in the first slot. (This is a tip I actually learned reading these forums - it helps a lot). The second slot has a low-ratio, fast A&R, middle threshold Compressor, because the limiter is too brutal by itself if you let it attenuate your sounds. This has become my nearly universal set-up, just as of the last week; but like all global effects, they must be used subtly and tweaked often to get the desired M&M result.
I have used the vinyl simulator once, but it reduces your frequency range substantially, and limits the bass output too drastically for my style. Of course with the wet/dry knob, I can see it's uses.
Like others I mostly only use the master section for parametric EQ & compressor. Although with the compressor I usually automate it so it only kicks in when there's conflicting bass & both effects slots are used on the affected instrument. On a side note, man I wish there were three or four effects slots per instrument. I could really make use of that.
I tend to have a para eq in the second master slot with gain down to min and freq down the bottom end so that it cuts out some of the muddiness you get with heavy reverb.
Bitcrusher works well on electronic sounds/electronica vibes, but can overwhelm the sound if you're not careful. It's probably harder to fit in, or find a use for if you're making hip hop (for example).
Oh dude, the bitcrusher can be your best friend. Like james said, you have to be careful & apply the settings delicately and deliberately but you can get some of the coolest sounding distortion/ feedback effects- especially on your perc instruments. The only real tip I have is this- I almost always keep the "wetness" setting very low. It doesn't take a lot to really overdrive it. Play with the BC more, you'll get the hang of it.
And it cuts out more than just that - some synths generate sub-bass artifacts (happens in all daws occasionally) that eat up your headroom even though they aren't necessarily audible; what I do is cut the bass on each individual channel, then boost it back up with a global parametric eq, which seems to work well for me, but it's basically the same idea. If you try it either way (the two aren't exactly the same, obviously) and your track "pops" more, then you've hit it.
So bojeroo, do you tend to reboost the bass in the master eq, or are we talking about a really narrow bandwith that doesn't kill your lower end? I use the lf damping knob in the master reverb unit quite a bit for the same reason.
Well Caustic can already remember your favorite settings and it's simple to achieve too.
1. Start a new track.
2. Set up Caustic the way you like it.
3. Save the file with the name DEFAULT.
Now every time you start a new track you will have your favorite settings loaded. :)
Fairly narrow bandwidth. I tend to position it so that the bottom end start of the curve (frequency wise) is at the left edge of the para eq frequency window.
default?! holy shnikees! how many Easter eggs did Rej dye awesome for me in this program?
@ boj: yeah that's what I thought you would say. Did you teach yourself that trick?
@ Andy: You know, I just recently started playing with edgier effects on percussion, and hadn't tried the bitcrusher yet. After checking out your automation and all on 1998, I learned a lot. You've got a knack for aggressive, interesting, drum tracks.
Yeah I just found it through experimentation. found it allowed be to create big reverb but leave it sounding clean and allow better eq'ing across machines.
Have you tried mangling your drums with the modular? You can get some pretty wild distortion running drums (or anything really) into the different inputs on an oscillator
9 times of 10 I have a compressor there and sometimes I have a parametric eq there to take down offending frequencies. But these effects only comes in when it's time for mastering, before that phase I use to have two paraEQ's to compensate for some issues with my cans. I'll write a short tutuorial how I do this later on if anyone is interested.
Since I cut the bass fairly drastically on all instrument channels (to reduce any possible artifacts), I have a bass-boosting parametric EQ in the first slot. (This is a tip I actually learned reading these forums - it helps a lot). The second slot has a low-ratio, fast A&R, middle threshold Compressor, because the limiter is too brutal by itself if you let it attenuate your sounds. This has become my nearly universal set-up, just as of the last week; but like all global effects, they must be used subtly and tweaked often to get the desired M&M result.
I have used the vinyl simulator once, but it reduces your frequency range substantially, and limits the bass output too drastically for my style. Of course with the wet/dry knob, I can see it's uses.
¿que onda, pachuco?
I use bit crusher and overdrive distortion in both slots.
nah normally there's nothing but sometimes i use a highpass or vinyl sim for transitions.
Really?
¿que onda, pachuco?
Like others I mostly only use the master section for parametric EQ & compressor. Although with the compressor I usually automate it so it only kicks in when there's conflicting bass & both effects slots are used on the affected instrument. On a side note, man I wish there were three or four effects slots per instrument. I could really make use of that.
http://soundcloud.com/andybones-1
>AMP DESTROYER>>12"SUB WARRANTY VOIDER>
I usually just use filters for transitions as well. I try to mix everything to where I don't need any limiting or compression on the master.
Paint Huffing Pit Bull Puncher
I always use a compressor and parametric eq or filter
Compressor almost always in slot 1 - normally to try and avoid the Master Limiter kicking in..
Bitcrusher/Flanger occasionally to automate mangling the main mix. Automated Bitcrusher works well for techno/trance tracks to add some drama
The Master EQ is flexible enough to avoid having to use a Parametric EQ in the Master insert FX slots (imo).
https://soundcloud.com/james-muir
https://www.facebook.com/james.muir.77
I'm having trouble to get any use out of the bitcrusher in any slot, let alone globally...maybe I'm overdoing it.
Hey wouldn't it be neat if Caustic remembered our global settings preferences every time it loaded?
¿que onda, pachuco?
I tend to have a para eq in the second master slot with gain down to min and freq down the bottom end so that it cuts out some of the muddiness you get with heavy reverb.
Bitcrusher works well on electronic sounds/electronica vibes, but can overwhelm the sound if you're not careful. It's probably harder to fit in, or find a use for if you're making hip hop (for example).
One BB and the Arping Modular on this are both 'Bit Crushed' https://soundcloud.com/james-muir/light-industrial-unit
https://soundcloud.com/james-muir
https://www.facebook.com/james.muir.77
That sounds like a great tip - will try it
https://soundcloud.com/james-muir
https://www.facebook.com/james.muir.77
Oh dude, the bitcrusher can be your best friend. Like james said, you have to be careful & apply the settings delicately and deliberately but you can get some of the coolest sounding distortion/ feedback effects- especially on your perc instruments. The only real tip I have is this- I almost always keep the "wetness" setting very low. It doesn't take a lot to really overdrive it. Play with the BC more, you'll get the hang of it.
http://soundcloud.com/andybones-1
>AMP DESTROYER>>12"SUB WARRANTY VOIDER>
And it cuts out more than just that - some synths generate sub-bass artifacts (happens in all daws occasionally) that eat up your headroom even though they aren't necessarily audible; what I do is cut the bass on each individual channel, then boost it back up with a global parametric eq, which seems to work well for me, but it's basically the same idea. If you try it either way (the two aren't exactly the same, obviously) and your track "pops" more, then you've hit it.
So bojeroo, do you tend to reboost the bass in the master eq, or are we talking about a really narrow bandwith that doesn't kill your lower end? I use the lf damping knob in the master reverb unit quite a bit for the same reason.
¿que onda, pachuco?
Well Caustic can already remember your favorite settings and it's simple to achieve too.
1. Start a new track.
2. Set up Caustic the way you like it.
3. Save the file with the name DEFAULT.
Now every time you start a new track you will have your favorite settings loaded. :)
Master Comp.... Master EQ (Moderately) nothing more. Limiter is active but only hits on very rare occasion on Clipping....
Fairly narrow bandwidth. I tend to position it so that the bottom end start of the curve (frequency wise) is at the left edge of the para eq frequency window.
default?! holy shnikees! how many Easter eggs did Rej dye awesome for me in this program?
@ boj: yeah that's what I thought you would say. Did you teach yourself that trick?
@ Andy: You know, I just recently started playing with edgier effects on percussion, and hadn't tried the bitcrusher yet. After checking out your automation and all on 1998, I learned a lot. You've got a knack for aggressive, interesting, drum tracks.
¿que onda, pachuco?
Yeah I just found it through experimentation. found it allowed be to create big reverb but leave it sounding clean and allow better eq'ing across machines.
Have you tried mangling your drums with the modular? You can get some pretty wild distortion running drums (or anything really) into the different inputs on an oscillator
Paint Huffing Pit Bull Puncher