Effects Chain Orders

[Dy-nasty]

then if this multiple comrpessor chain works...perhaps someone can post a chain that they have had success in creating a great growl sound using this multiple compressor technique.

Why don't you just experiment with the concept?.....

This is because in this thread, I essentially said I was looking for other people's opinions,findings, or knowledge of effects chains to form a nice list. If I was really good at making my own effects chains,I would make a list of my own instead . I will experiment on my own with it; but until I do, I would like to hear anyone's ideas, findings, or opinions using a multiple compressor chain.

P.S--Feel free to post an effect chain that is not currently about using multiple compression chains. I want to see if I can get some more effects chains on that list.

Thanks Everyone

[Artie_Fufkin]

Using multiple compressors/limiters/transient shapers in series is completely practical. And using gentle bits of compression at various parts of the chain can help instead of having one at the end with a high ratio.

Here's some general chains/variations off the top of my head that I've used:

mda Detune->soft clipping distortion->maybe a harsher/closer to 100% drive/gain distortion(maybe switch up the order of these, just play around with how they interact and how the waveform turns out)->[maybe a third distortion, also I tend to use a 50/50 mix of wet/dry on these]-> perhaps mda detune here instead of the first one-> lowpass or bandpass or formant filter-> maybe a distortion after this-> notch filter with lfo/automation->maybe another distortion->>>>>>> then the "fattening/widening/enhancing/reducing dynamic range lol" stage .... if you didn't use much distortion or detuning or chorus before, use a little bit of mda detune or chorus and a little bit of soft clipping distortion/saturation (with the soft clipping distortion, use a low drive/gain setting and very little wet to dry mix, going for subtle changes)-> really tiny and short delay-> itty bit of reverb->compressor(play around with the ratio depending on how much of the delay and reverb you want or put it before).

And you can replace mda detune with chorus and notch filter with phaser or maybe flanger, although I tend to think of flanger especially as "gimmicky" or "novelty" sounding because no matter what sound you put into it, you get that "woooooooosh" sound out of it.
Also, you can put an EQ's or compressors anywhere in that chain wherever you feel the need. Shape the sound in between distortions with the EQ for more control.

Also, here's the effects chain for something I posted on here before:

2 instances of P8

one goes to one track
Reese Bass 1: distortion, filter(moving), eq, distortion, filter(moving), distortion, flanger, limiter

the other one goes to a second track
Reese Bass 2: distortion, formant filter(moving), eq, distortion, distortion, flanger, limiter

then both of these go to a send tracks (they are combined):

dblue glitch, chorus, filter(moving), delay, reverb, compressor


With effects chains you can also split one track into two tracks, either the first track and a send track or two send tracks(mute the original track). Or more than 2 if you want to get more crazy about layers.

[Dy-nasty]

Ok thanks for the response I will post one of the reese bass chains.

[Turnipish_Thoughts]

Massive patch [generic midrange grit-esq] ->
Automate cut off/bandwidth/resonance on double notch e.t.c. /Feedback/Mod Osc phase ->
Comb filter with freq around 80-120Hz, feedback just below audible echo threshold, automate notch freq slightly. ->
Split freqs, high med low [500Hz/5(or)8Kh x-over points] (3 bands) ->
Highs: phaser set to low Hz oscillation half wet/dry, extremely subtle distortion, small room reverb, +6dB early reflections. (bring down channel level appropriately) ->
Mids: subtle distortion, subtle Compression, subtle Flange with feedback and feed-forward set to around -[minus]20-30% ->
Lows: Compression/limiting, set to mono.

Buss together. On the Buss->
EQ. Automate Peak[1], moving up down freqs and amp (circular/wiggly motion sort of in time with beat) around 250-500Hz, Automate notch around 500Hz-2KHz - Automate peak [2] around 2KHz-8KHz. (You're essentially programming your own phaser here. On each EQ band pay attention to where the point is and how it's effecting the timbre, find points that resonate nicely and focus around said points for each band) ->

Multiband compression. This step is entirely reliant on the timbre of the patch, add/remove bands to taste and use to emphasize/negate areas of the timbre.

Bounce and run the sample through a granular engine ( I use Hourglass) Play about with (and automate) Grain Envelope shape/Grain Frequency/Grain Length. Also setting the 'texture' length to 2x the sound source length and automating playback position creates (can do, it's always situational) nice results... Render once you've got robotic twisty goodness. ->

(if set to 2x time of orig, time stretch back to normal length, otherwise) Layer over non granulated sample (enjoy the phasey goodness). Bounce both to 1->

Listen through, cut moments of clarity/prominent movement e.t.c. ->

Sequence to beat, create a groove.->

Split freqs. apply subtle flange to mids/highs, also if required (if there's still room for stereo width without it falling apart) apply subtle chorus to mids/highs/subtle distortion to taste. Buss together. ->

????? ->

Profit!

Yah so this has turned into more of a workflow write-up. Still though, it involves FX chaining. Makes stuff like this...

Soundcloud

Yep, this is the exact process i went through and order of FX i used to make this. Hope it'll help/inspire!

(btw I don't 'do' the midrange stuff, this was my first attempt, take what you will from that.)