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Originally posted by richg101 i always have a compressor/eq/limiter (in this order) on my output but turn it on every now and then to see how the track responds to compression/eq changes and limiting.

You shouldn't have the eq after the compressor in the chain... U ruin the compressors effect to some degree. Put it vice versa rather.

Just a tip..

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Originally posted by ASFSE if it sounds good, and doesnt hurt anybodys ears...then wtf, do it, fuck popular opinion.

Fuckin' right.

It doesn't matter what you do so long as it sounds good. Do whathever the hell you want and whatever the hell it takes to get results.

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Originally posted by lenieNt Force You shouldn't have the eq after the compressor in the chain...

Why? I always ask myself that. Why am I doing this?

When you route the output of a compressor to an EQ then you are EQing the already compressed signal. If that is what you want to do, then go ahead and do it.

When you route an EQ to the input of a compressor then you are EQing the signal before it gets compressed. The effect of doing this will change depending on how drastic the EQing is and how much signal is over the compressor's threshold.

To be perfectly honest, there is a time and a place to do both. Why you would ever consider doing either without knowing how an EQ works, how a compressor works and how both interact when you connect them together is beyond me.

Ask yourself what you want to achieve by using both the compressor and the EQ. If you seriously don't know what you wan't then you need to go back to basics and learn about signal chains before you even bother going any further.

There is no right or wrong way to go about this but there is the informed and educated way. You will be much more in control of your work if you know what you are doing. Otherwise you are just fluking it and that never ever worked for me.

Mixing with Ozone on the master bus isn't stupid if you have a reason for doing so and you know what it is doing, where and how. What Ozone modules are active? The multiband compressor, the band stereo widener? The paragraphic EQ? What are they all doing. Why?

If you don't know that then yeah, it is stupid to mix with Ozone on the master bus because its pretty clear you don't know what you are doing, don't know what you wan't and have no idea how to achieve it.

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Originally posted by Derivative To be perfectly honest, there is a time and a place to do both. Why you would ever consider doing either without knowing how an EQ works, how a compressor works and how both interact when you connect them together is beyond me.

If you put the eq after the comp in the chain, the comp loses some of its effect, even if you dont adjust any of the bands on the eq. Just see for yourself on a peakmeter.

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Originally posted by lenieNt Force If you put the eq after the comp in the chain, the comp loses some of its effect, even if you dont adjust any of the bands on the eq. Just see for yourself on a peakmeter.

sometimes this is exactly what you want to do. i often cut frequencies out before i compress something. this way, i know only the sound i WANT is being compressed. remember, when you reduce the dynamic of a sound, such cut frequencies will/may affect the others!

___________________

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Originally posted by DJ Robby Rox I've never had a problem with FLs tech support till this day. (I've actually never used it till this day)

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Originally posted by floyd741 i think echosystm is a pretty cool guy. eh pwns robby rox and doesn't afraid of anything.

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Originally posted by lenieNt Force If you put the eq after the comp in the chain, the comp loses some of its effect, even if you dont adjust any of the bands on the eq. Just see for yourself on a peakmeter.

A track compressor doesn't detect frequency so that part of a sound is irrelevant. It only detects peak amplitude.

An EQ can increase amplitude of a sound over a certain frequency range. As long as the boosts you make on an EQ are on parts of the sound that peak below threshold then the action of the EQ on the compressor is irrelevant in this example.

For instance, if you were to add +3dB bump to an 808 kick drum (peak signal = 0dB) at 15khz (q = 0.5), then routed the output of the EQ to a compressor (threshold = -5dB) then the EQ won't affect the degree of compression in any meaningful way because practically none of the 808 bassdrum is going to peak over -5dB anywhere close to 15khz.

Lets say you put that +3dB bump over 80hz. Now its going to affect the action of the compressor drastically. To see the exact effect of this, export the EQed bassdrum to wav and import it into a wave editor (like Soundforge). Measure a line across the Y axis at -5dB. Everything above that line is going to be affected by gain reduction. More signal will be over the line with +EQ rather than without.

Compare the EQed drum to the non EQed drum to see how the height of the waveform increases where it cycles slowly (more towards the end of the drum).

If thats what you wan't to do then go for it. The point I'm trying to make is that this example does not explain the right or wrong way to go about doing this. There is no right or wrong way. This is simply the way I chose to do it and here are my reasons for doing so.

If you mix with Ozone on the master bus thats great. Whatever works. But you better make sure you have a good reason for having it there and you better make sure you know what modules are active and what they are doing to every sound you add to the mix. It can get complicated when you have alot of tracks because then it becomes harder to visualise whats going on and what is affecting what. But its still feisible - you just need to be organised about it and you need to have a clue about what you are doing.