If you’ve mixed for any length of time you might have thought to yourself if it matters in what order you insert plugins on your tracks. Or maybe the thought has never crossed your mind. You simply always reach for the same plugins in the same order on each mix. In either case today I want to answer a reader question regarding the subject and give you a few things to consider as you mix.
In what order should my plugins go in the insert? I usually start with a compressor/limiter and then move to EQ, possibly delay or reverb then desser if necessary…granted this is for vocals. I would really like to know what a good general guide is for tracks. – Michael R.
There Is A Difference
The first thing we should be clear about is that there is a real difference in how your track will sound depending on the order of your plugins. You can take 3 plugins on a vocal track, swap them around and the vocal will sound different. I know it sounds obvious, but plugin inserts (much like their hardware counterparts) operate on a simple input/output basis. What comes in gets processed and sent out.
Why is this relevant? Because you need to simply be aware that if you change the order of plugins you are changing the inputs and outputs of the signal. You are changing what a plugin receives, processes, and then eventually dumps back out. So, plugin order is important and does make a difference.
There Is No Right Way
Now all of THAT being said, there technically is no “correct” plugin order that you must follow. Some mixes call for certain plugin chains and some mixing engineers prefer certain methods as well. It doesn’t matter what anyone else does, it matters what makes the track sound amazing and fit in the mix.
How I Handle EQ And Compression
Personally I use two main plugins on almost every track, EQ and Compression. I’ll use more effects on certain instruments but I can guarantee there will likely be EQ and Compression on everything. I prefer to place my EQ first in the chain and the compressor immediately after.
The reasoning? I personally view EQ as a tool to carve away and “fix” the recorded sound while on the other hand I view compression as a tool to change or enhance the now “fixed” sound in order to sit in the mix better. If I’m going to do a lot of subtractive EQ, then I’d rather remove the unwanted frequencies before I go turning them up with a compressor.
The Rest Of The Effects
After I’ve EQ’d and compressed, then and only then will I add other effects dessers, modulating effects (chorus, flanger, phaser), etc. Again, I don’t want to effect or enhance a signal that still has unwanted frequencies in it, so I’ll make sure to insert these types of plugins AFTER my EQ and Compression. As asked by Michael in the original question, as it relates to delay and reverb effects, I don’t actually insert these effects right on the tracks. Rather I’ll use sends and busses to blend in the amount of wet effect that I want. And this usually comes after the insert plugins.
The only exception to this might be if I’m using some kind of distortion or tape saturation effect. These can work really well as the first insert in your chain as it’s acting as part of the initial sound, which then can be EQ’d and compressed to taste. Again, this is my personal preference and is very characteristic of how I mix. I have many friends who are mixers and they do things very differently. It truly is a matter of taste.
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My name is Graham Cochrane and I'm the founder of The Recording Revolution, one of the world's most loved audio recording and mixing blogs with over 200,000 readers each month. 
I totally agree with your thinking, Graham. I’ve been doing EQ before Compression as well – I found compressing the un-EQ’d sound made proximity effect even more prominent in a couple of tracks. When I removed the compressor, EQd and then added the compressor again, it was like a light bulb came on.
In a video I watched from Dave Pensado, a technique that outlined is to cut frequencies prior to compressing and add another eq after the compressor for boosting frequencies. I’ve used this several times now and have had some very good results.
that’s a really good idea. i’ll try that thanks
I often do both. Like you I mostly use EQ to remove problems. However, I also like to do subtle boosting of the more pleasing frequencies of different instruments. Often times I end up cutting with EQ before the compressor and subtly boosting after. It’s not something that I always do, but it sounds good to me sometimes.
I use both. If I want to remove some frequencies from a track (like unwanted low information), I would EQ before the compressor. If I want to adjust the tonal balance of the track, I’d EQ after the compressor.
Sometimes I use EQ before and after compression. Let’s say that I want to remove a snare bleed from a kick drum: I put EQ before the compressor in order to prevent the snare from triggering the compressor, but I may still have the need to EQ the kick drum by itself after it was compressed.
Just to point out a special case, I love using compressors and gates AFTER reverb to make even crazier effects. Also, I like to use the high-pass or low-pass filters built in to other effects such as compression and reverb, and the sweepable eq in my saturation plugin which sounds better than my stock eq anyway.
Hello! This is the order I usually use: eq, compressor, second eq, second compressor. If needed after these I put a modulating effect like chorus, flanger… And after all I use delays and reverbs – in that order. If I have to use a saturator, I put it first or after the first eg, but then I get rid of the one of the compressor, or: eq, saturator, second eq, compessor etc.
This is an interesting post, I’m glad I saw it and have a good reason for EQ->Compression.
I actually found some old magazine articles by Paul White, and he said he usually compressed before the EQ, because EQing first could then bring up harsher, or more intense frequencies that you may not be able to figure out how to get rid of. These articles were written atleast 10 years ago now tho, and I think he mixed completely analog. I’m also not sure on his exact EQ methods, but I’ve since adopted the subtractive EQ philosophy.
I think I used to EQ before compression for no other reason than its listen in the plugin folder first, but then I read THAT article, and now I read THIS one. I’ll have to play around a bit
I agree 100% completely Graham!
My signal chain typically in numerical order is:
1.) Corrective EQ- to get rid of junk I don’t like or is not needed.
2.) Corrective Compression- Tighten the dynamics so it can sit better or sound more consistent.
3.) from here it can be a De-esser, Creative compression, Creative EQ, etc (depends on the instrument). Reverb and Delays I usually use an Aux for as well.
Nice to hear peoples starting signal chains! =)
I do the corrective EQ before the compressor, and additive EQ after the compressor. Sometimes corrective EQ is not enough.
Good article – one thing I’d add is that a de-esser before the compressor often works better for me (if required), as it stops those treble freqs from getting too ‘spitty’ and allowing the compressor to work more smoothly on the highs.
I do most of the above techniques – of course depends on the audio though. One thing I think people in the forum forget is that a De-esser, whilst being a dynamic processor, is also indirectly a form of subtractive eq. For the same reason you don’t boost before a compressor – because you make the compressor kick in on these frequencies, I believe it’s also good practice to de-ess before you compress. Effects, Subtractive EQ, De-essor, Compressor, Additive EQ.
Hey Graham, nice post! I just wanted to drop in here and say that Kim Lajoie posted up an article today about this post of yours, accusing you of using “sexist language” by telling your readers to “man up” lol. He actually wrote quite a bit about it. Figured you might want to defend yourself, since he obviously didn’t give you the privilege of letting you know that he totally called you out! What a shame…gossiping like a schoolgirl.
Anyways, here is the link to his site and the article:
http://blog.kimlajoie.com/
Hey Graham, I’ve been wondering if I could shoot up a ‘reader question’ thing but I didn’t know where to submit it, hope here is fine.
I’m in no financial condition to acoustically treat my room or anything, but I’m interested in getting drier/tighter vocals for recording. So I’ve been looking into those sE Reflexion Filters and vocal booths and whatnot, I’m just wondering are they worth the investment? The debates I see online on forums seem to never give a clear answer on this subject. If it’s not worth the investment, do you think going DIY is a good alternative solution? Thanks in advance!
Hi Dustin, they can really help for sure. They are better than not having one, let’s put it that way. I have one from Editors Keys and it can cut down on a lot of room reflections. Not perfect, but definitely better.
YI like the post.. You give good advice to up and comers.. Im always telling folks that even though there are certain things that work some.. They are not gonna be for everyone.. Out of thousands of songs I have mixed and mastered I have tried all sorts of methods.. I have some tricks and things that work for certain artists.. BUT! you have to find those for yourself.. =0 ) If anyone needs help I can throw you some tracks and you can ask how I did certain things.. I am supposed to start teaching soon so I could use the extra man hours.. Practice makes perfect! You dont learn if you dont ask… Some of you might know who I am.. I play the character Combo on Breaking Bad.. I am one of the owner/producers of Five Star Records.. I am based out of Abq,NM but alot of folks know us from our magazine Block Relevant.. Southwest Coastin It! I work with dropbox or mediafire when sending files so definitely get those if you wanna work with ya boy..! Im choosy of who I work with but I will try to help all who have valid questions.. Contact me at [email protected] on the social sites.. Personal E-Mail is me.rodneyrush.gmail.com..
~One Love Ya’ll!
I got my girls right here..
When in doubt use Logic and Reason.. lol I got My Baby Mac oh she a pro.. and don’t forget my team of BX’s and my Rockit Ho’s.. It’s all about how much thump they can dump Ya’ll…!
My obsession with this question is borderline insanity.
I used to think EQ before Compression, for the reasons you listed above. But then I realized that if you compress before equalizing, then you’re not compressing the frequencies that you’re trying to boost.
Then I threw away that whole idea.
I came back with the idea of using corrective, subtractive EQ first, then a limiter to control peaks, then a compressor to level, then another EQ to creatively shape the tone.
Holy crap was that an amazing formula!!! It was worth nine-hundred, ninety-nine thousand and nine-hundred and ninety-nine bucks. But it never cut a million.
The REAL million dollar trick is this:
Truly believe and practice the notion that not every track needs an Equalizer or Compressor, and that less is oh, so much, more.
My final, revised, refined, and perfected signal chain is this:
But it’s not a signal chain, it’s a “Brain Chain”.
First, does it need compression? Yes? Then are there frequencies that might mess with the compressor? Yes? Remove them. Are there any more? No? Limit the highest peaks. Does it still need leveling? No? Move on. Yes? Compress. And the tricky part: does the track sound good in the mix? Yes? Leave it alone – no EQ. Could it sound better? Yes? Take a step back! Is it important enough to NEED to sound better? Yes? Then make it. If not, leave it alone.
If the track is a petty tambourine in a mix of 24 tracks, it’s not important enough to need ANY of that processing.
Plain and simple – the Brain Chain is the real signal chain. Only process if you need it, and if you need it, then Correct, Limit, Compress, Enhance.
There’s your Million Dollar Formula.
Dude. You ARE obsessed 🙂 Love your thoughts here.
haha, absolutely obsessed:) if this were an article about recording levels my rant would have been 3 times the size 😉 I saw your facebook post about Dueling Mixes, and holy crap I’m sold. Sounds amaaaazing. I’ve got the mixing technique down, but love another viewpoint, and I love the idea of expanding my multitrack collection. I have some very rare MTR, but fresh is always good, and refreshingly original. Thanks for the great content, Graham. Many thanks.
Great thread here. I’d like to share a quite surprisingly discovery (for me at least) I use to record on an IPad Garage Band for our rock projects. I’m the singer and my co-writer sends stuff and ideas to me so I can work on them. Normally until recently I’ve record with a standard dynamic mic (sm58) through a preamp from IK. It works ok. Only challenge is to find the right amount of gain because the knob to adjust is too inaccurate that combined with its powered with a battery so after a long session it slowly drops in gain. And now it comes: One day I needed to in a haste to capture an idea before it would disappear again. I recorded directly from the internal microphone on the IPad. I was quite surprised with the presence of my vocal. Then I tried move the iPad around I put up a pop filter in front and found the right distance to it. To me this simply kicks ass (pardon) after a session I eq the high ends because there’s a lot of high end. Or I use de esser and then compression and voila. My band mates were really blown away when I told them this method. I don’t know what kind of microphone’s inside the IPad. I guess some sort of condenser la valier maybe. Anyone out there with same experince?