![]() 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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