![]() ![]() Granted, sends and buses are alike in that they allow you to route signal from one or more tracks to a common destination. In this way, using a send differs from busing the output of the track. Remember that sends are duplicating (splitting) the signal and therefore do not affect the signal that is on the normal signal flow path in the track. There isn't a universally right or wrong order when it comes to plug-ins and processors, so experiment!Īuxiliary sends (a.k.a sends) are used during recording sessions for purposes such as headphone mixes and reverb configurations because they can easily route a duplicate signal to a different destination than the track output. In the before and after images below, notice that the order and number of modules can be changed. Some plug-ins, such as Ozone 9, have multiple modules, which can be rearranged. One order is not inherently better than the other each offers different benefits and drawbacks. However, if the order is EQ then compressor, EQ changes will affect the compressor (EQ boosts will cause more compression, EQ cuts will cause less compression). If the order is compressor then EQ, EQ changes will not impact the compressor. The plug-in processing on the vocal track is not recorded to the vocal audio file, it is only being monitored.Ģ. Two crucially important facts to note about this order:ġ. Hard drive > insert #1 (compressor plug-in) > insert #2 (EQ plug-in) > faderĮverything else about the basic signal flow remains the same. Furthermore, the plug-in in the first insert position (the compressor) will feed into the plug-in in the second insert position (the EQ). The plug-ins will be located in the insert positions, which are after the recorded audio on the hard drive, but before the fader. ![]() ![]() ![]() So, let's add two plug-ins-a compressor and an EQ-to the vocal track in the previously outlined signal flow. People use plug-ins in recording sessions. As a result, the track fader does not affect your recording level. The fader is after the hard drive (where the audio file is recorded). If you cause distortion by overloading the A/D converter, turning down the track fader won't fix the distortion problem.Ģ. So, set your recording level via the mic preamp. The mic preamp is before the A/D converter. Two facts of supreme importance to keep in mind:ġ. Let's analyze a straightforward vocal recording setup with just the basics-a mic, audio interface, computer, and headphones. Such mistakes can be avoided with a few facts planted firmly in your memory. I've seen a lot of slip-ups in recording sessions where people think a certain process or piece of gear is being recorded when it is really only being heard. So, it's not as easy as following a cable trail from device to device.Īlthough there are oodles of signal flow variations, none of them will make sense if you don't grasp the basics. However, in a DAW, you are typically not provided that luxury as you're usually dealing with virtual connections that cannot be seen. Signal flow between components tends to be easier to comprehend when you can see cables connecting them. Confusion about these things can quickly lead to counterproductive actions, incomplete routing configurations, or even dangerous feedback loops. Unfortunately, it's not hard to get lost or misinterpret where your signals are going and when they hit different software and hardware elements of your setup. Understanding signal flow in DAW-based recording and mixing is vital for efficient music production. ![]()
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