Consider that envelop filters tend to create a very dynamic effect. Any compression seen after the envelope filter will level some of those magical dynamics.This can really suck the life out of an envelope filter, especially if you are using a high compression ratio. In my experience a well set compressor before an envelope filter leaves plenty dynamic range to key the effect. Regardless of the order, you can get good performance either way if you set the control appropriately. OP, I suggest trying both ways using your own musical tastes to decide which is best.
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Still tryin to figure out my chain. Some help please.
- Thread starter RiZzBot
- Start date
Consider that envelop filters tend to create a very dynamic effect. Any compression seen after the envelope filter will level some of those magical dynamics.This can really suck the life out of an envelope filter, especially if you are using a high compression ratio. In my experience a well set compressor before an envelope filter leaves plenty dynamic range to key the effect. Regardless of the order, you can get good performance either way if you set the control appropriately. OP, I suggest trying both ways using your own musical tastes to decide which is best.
If that were me I would run : Bass-- env filter-- comp--octave--sansamp--chorus--reverb. Are you using the sansamp as a DI or just as a preamp?
try parallel processing ...
This is what I am currently using for effects.
1 - First I run into an equalizer
2 - Then I split the signal into 4 parallel signals with a rolls mixer.
3 - I run one of the parallel lines into the Line6 bass pod where I model an acoustic 360 with a rat or big muff distortion pedal. I use this to get a retro growlly distorted sound. Or I also model an Ampeg fliptop with the Rat Distortion pedal. And I also Model an old Marshall amp. With the bass pod I can get a wide range of clean or dirty sounds and various effects and model different amps and speaker cabinets.
4 - The second parallel signal goes into a MXR bass di+. I use this pedal to get a clean modern sound. It also has a distortion button that can give a moderate to extreme amount of modern distortion.
5 - The third parallel signal goes into a Marshall Guv'nor. This gives me an old 60s marshall stack sound. This can go from a small amount of distortion to an over the top marshall sound. This effect can give you a the classic Jack Bruce Cream tone.
6 - The fourth parallel signal goes into a Tech21 VT Bass pedal. With this effect I get a slightly dirty Ampeg SVT bass amp sound with a tube like growl.
7 - Then I remix the 4 signals back together and run it into a bass amp, or pa, or studio mixer. Because the signals are parallel I can mix clean and overdriven sounds together and still get effect and a sound that punches through the mix.
Schematic diagram of my effects.
Wow! That looks like rocket science to me! i'm going to have to research it more.
Ric5
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- Jan 29, 2008
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I like to run modulation edfects in the preamp fx loop so I get why you suggest this chain.
I don't know the DI so kept it safe
I run:
Tuner > Boss GE-7 > Boss LS-2 ( with switchable in the loop: Digitech Bass Synth > Zoom B1on > handmade Green Muff ) > EHX Bass MicroSynth > MXR M87 comp.
Apparently I'm pretty backward on the compressor?
I like it at the end of the chain so it evens out volume changes when I enable synth/OD ...
Tuner > Boss GE-7 > Boss LS-2 ( with switchable in the loop: Digitech Bass Synth > Zoom B1on > handmade Green Muff ) > EHX Bass MicroSynth > MXR M87 comp.
Apparently I'm pretty backward on the compressor?
I like it at the end of the chain so it evens out volume changes when I enable synth/OD ...
This is my feeling as well. Putting a compressor before a filter (especially at higher ratios and/or lower thresholds) makes it harder to control when it triggers effectively. For me at least. And of course there's the added benefit of compression after a filter taming big spikes (which the MXR Bass Envelope Filter can have) if need be. I also run octave effects (which I'd consider the Mantic) at the the beginning of my chain for the best tracking results. I also think the SansAmp belongs at the end of the chain because it is a preamp/DI.
Personally I'd go Mantic-->MXR BEF-->MXR Compressor-->Chorus-->Reverb-->Sansamp
I can see that view but for me I'd rather feel like I have full control over whether the filter triggers or not. If the compression after the filter is relatively light it shouldn't suck the life out of it. And in either case you can always turn the compressor off when using the filter if need be.
For me the big realization with compression was that when I go FOH they are compressing me at the very end of my chain and it sounded good. So it didn't make much sense to me that when I was using compression at the very beginning of my chain. So I end up putting my compressor at the very end or (more typically) I put it after my octave, dirt and filters and before modulation which doesn't need compression for the most part anyway.
Exactly. IMHO, we are both saying it comes down to usage, how the individual effects are adjusted, and the result desired. Another place high compression ratios can suck the life out of an effect is before or after a high gain distortion or fuzz.
Nice work
. As for order, I'd start with this order and experiment a little.BASS > Envelope > sub > comp > chorus > reverb > delay > DI > AMP
