Compensating for level increase while using Sends
I've always wondered about 2 things in this regard: firstly, calculating the precise or at least approximate number of Db by which to reduce the signal as I'm increasing a Send effect, so as to match the volume prior to that. And secondly: what other people's techniques are for doing so.
In Reason, what I do really depends. Sometimes it's a combination of a threshold increase on the compressor (which I insert into the actual Effect combi) together with Volume-down automation, or sometimes just the Volume, if the dynamics aren't breaking out dramatically. However, I've yet to pick a surefire method to calculate exactly by how much. Any ideas, ladies and gents? Perhaps, it really is as cumbersome as I've described, but in pro recordings one can hear a Send delay go from 20 to 100 in 2 seconds with no audible volume increase - something I've yet to perfect
Thanks for your attention!
"The philosophers would definetely have a lot to say about this, but at the time they were too busy filling their own pockets with loot..."
HeheThanks, man. Still. doesn't exactly explain the merits of different devices (compressor threshold vs volume etc) in reducing the signal. If you could just tell me whether my actual technique is correct or not, that would be a big help, cheers!
"The philosophers would definetely have a lot to say about this, but at the time they were too busy filling their own pockets with loot..."
In terms of using aux sends to feed reverbs or delays etc I normally set the send at a static level on a vocal for example and then ride the vocal fader to keep the level consistent. Then to make these effects less obvious in terms of hearing the tails I then ride the aux send sends and sometimes returns.
In terms of setting compressors If I'm just trying to level out the dynamics I'll lower the threshold until it's pushing between 3 and 4dB of gain reduction and use automation to control beyond that. If I'm using the compressor to shape the sound like with a kick or snare drum or Killers type vocal then the comp settings can be pretty extreme with high ratio, low threshold and quick attack
So lots and lots of automation is my way and just concentrate on what it sounds like, I'm trying to train myself to turn off the screen while doing this as it's a job for the ears rather than what the meters are showing me.
Thank you Danny! Yes, I'm with you on the ears. I do tend to iron out even the most obvious audible issues with technical explanations, as I need to hear it once from a professional to continue with my own method, however well it worked. With the souped up delays which I often increase in a matter of 2 seconds, and then back to zero, it is really an individual approach depending on the actual sound. Thank you for the clarification, it helped me to stay on track.
"The philosophers would definetely have a lot to say about this, but at the time they were too busy filling their own pockets with loot..."
Firstly, it's dB.Originally Posted by KartoffelPuffer
Secondly - why are you trying to match the level of the wet effect with the dry signal?
If you are sending 0dB and the send fader is at 0dB, you've got an identical signal.
I think you're confusing the matter of how sends / auxiliaries can work. Some are pre-fader, some are post-fader. Sending pre-fader will give a harder wet-send effect and not be affected by movements on the dry signal fader. I'd google pre- and post- benefits with effects if you're unsure of what I mean.
Most studio techniques differ on where people adjust the audible level of effect. Do you keep the send amount, wet effect fader the same and change the pre / post?
Do you change the send amount?
Do you change the wet fader amount?
Do you keep it post-fader and move the channel relative to where you want the effect to pop-out in the mix?
There are a lot of ways to skin a cat. Mostly I use Pre- at 0dB and automate the effect bus volume. That relies entirely on my ears to make sure that it sounds right.
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