View Single Post
Old 21st September 2004
Lives for gear
Gregg Sartiano's Avatar

I kinda have a ghetto way of doing it...I've been using this trick to "mult" on PT for a while.

I'll bus the kick (for instance) -- Bus 1

I'll create aux ins (two? three?) -- Bus 1

Whatever plug-in(s) I wanna use (on ANY bus), I'll instantiate 'em on each aux in

Then I'll change the plug-in to a null setting on all the mults (except for the one I'm trying to use) -- this is a no-brainer way of taking care of timing issues. Also, the fact that you're using auxes instead of actual (printed) audio tracks saves the track count.

So, if we do the Pensado triple kick:

(pasted from drum mults topic)

Let's take kiks today. I tap off a piece of the original sound, and split it to 3 tracks. The original I EQ with the board (SSL). On the second tap I run it thru a 160XT, ratio 6:1, and knock off enough to get the mid attack or thud to come thru (don't use the Over-Easy in). Run this into an API 550A. Next, take any compresser that has variable attack and release and use kinda fast A/R. Crank the threshold down to knock off 25 or so dB. Run this into any EQ and focus on the attack. You mite have to add 20dB at 10K. Experiment. Now combine all three tracks plus your samples (usually 808 type subby sound, or mid thump sample, etc.) Pick your samples so they don't change the original sound, just make it better. Before you knock this technique try it. I do the same with vocals, snares, bass, guitars, and damn near everything. The beauty of this is that you preserve the dynamics and transients, but still have compression! So your apparent loudness, clarity, and punch are still improved better than if you compressed and EQ'd only the original sound.

My version of doing this on PT would be to make another track & cut/paste the sample with tab-to-transients (if necessary).

Then I'd bus the original kick to Bus 1, make 3 aux ins, put ALL IDENTICAL FX on each -- for instance, if I'm using plug-in EQ *A* as the "board" EQ (Dave's mult #1) and plug-in EQ *B* as the "attack" EQ (Dave's mult #3), then BOTH auxes are gonna have EQ *A* and *B* -- *B* will be flat on the #1 track (just there for timing). Same with compressors.

Next, I'd set up an entirely IDENTICAL chain for the samples -- aux send --> Bus 2, EQ *A* and *B*, whatever compressors.

The auxes can go to another aux for combined compression (that's the "experiment" part).

This type of chaining can turn into a DSP hog, but those McDSP and Ren EQ FX can instantiate multiple times on one chip, so that'll help out...