Does sending multiple instruments to an equivalent impacts track (reverb/delay) have a special effect on the general combine from applying effects to every individual channel? What’s the simplest method to apply lots of effects to tracks while saving CPU? Also, however does this add terms of blending multiple tracks through one compression effects track?
Let’s begin with reverb and delay: i will discuss reverb, however the same principle applies to delays. It’s price pointing out that only recently, with plug-in-based DAWs and powerful computers, has it extremely become potential — a minimum of while not being a millionaire — to run separate reverbs on each channel. Within the days of time, almost all reverbs would are set up as send effects. Partly, that was down to the cost; however there have been some practical and sonic edges to the current approach too. Firstly, using reverb as a send impact meant it had been fast and easy to regulate the wet/dry balance of things, either using the aux send knob on every supply channel, or using the fader on the results return channel, depending on whether you needed to regulate the balance of 1 supply or the full combine. Secondly, you’ll leave reverbs patched into aux sends, in order that your favorite reverb unit was continuously simply accessible to every channel, with no need to re-patch. Thirdly, if the aim is to gel different sources along, you probably need them to sound like they are within the same area, thus it is sensible to share an equivalent reverb. And, finally, separating the reverb and also the supply track permits you to additional method the reverb signal, with filters or alternative processors, before mixture it back with the supply.
However, it is also quite common for some sources to own their own dedicated reverb. A snare drum, for instance, can be sent each to an overall ambience or drum-room reverb, also on its own dedicated reverb. in this situation, you’ll use a reverb as an insert or as a send impact, and if you needed the snare reverb to be processed beside the snare (or the rest of a drum group), you’d route the snare reverb’s return channel to a group/bus track along with the snare, or all of the drums. Another possibility is that you simply want to thicken up a weedy sound employing a short ambience patch and, again, you’ll use either approach here. So, in short, it’s utterly acceptable to use a reverb either as an insert or as a send, however the send approach is far a lot of common, and for good reason.
When it involves eq and dynamics processors, like compressors, gates and limiters, this situation is reversed. In alternative words, they’d normally be used as inserts, to sculpt sounds and manage their dynamic range so that they higher fit the mix (which is why some high-end consoles feature eq and compression on each channel). Again, though, there are occasions once you would possibly need to use them as sends, the most common of that is once you need to perform parallel compression. Some compressors feature a wet/dry, or ‘blend’, management for specifically this purpose, however you have got a lot of flexibility by employing a compressor as a send impact, as a result of you are able to eq the come back signal once more before blending back with the supply. This method is fairly ordinarily deployed on a drum bus, typically with a small ‘smile’ combining weight serial with the mechanical device. If you want another, a lot of extreme example, producer Michael Brauer reportedly mults out vocals to many different compressors in parallel to urge the impact he needs.
Of course, it is also perfectly acceptable to use processors like compressors on bus channels without doing any parallel compression. That is referred to as ‘bus compression’ and is usually done to ‘glue’ or ‘gel’ things along. If you are operating during digital surroundings, sort of a trendy computer-based daw, it’s prices a fast word regarding latency compensation. Most DAWs currently embody automatic plug-in delay compensation, and this is often essential once doing parallel compression, because the delays can otherwise cause unwanted phase-cancellation. it is not extremely a problem for reverbs, though, wherever any delay may be compensated for by reducing the reverb’s pre-delay.