The February 1, 2019 tip covered a multiband processing “development system.” Instead of using the Splitter’s frequency split option, it added sends and buses to make everything accessible in the Mix view. The Multiband Dynamics processor created the bands, which made it easy to add compression or expansion to some of the bands. After creating the desired sound with this development system, I’d port it over to an FX Chain, use the Splitter, and bring out the controls to a macro.
Reader Sagi Sinai came up with a brilliant application for mixing that showed the value of the “development system” approach. But I realized that the Friday Tip has never covered a basic multiband processing application with the Splitter, which can split at up to four different frequencies to create five different bands. So, let’s correct that oversight.
Multiband processing is particularly effective with guitar distortion when you want a more defined, articulated sound, with the potential for a wide stereo image. Of course, that’s not always the desired result—sometimes a spawling, dirty sound is what you want. But a track processed with the multiband distortion can sound more focused, and often, fit better into a mix. The audio example plays through single-band distortion, then through multiband distortion. Both use the same post-distortion effects (Pro EQ, Binaural Pan, Open Air) with the same settings. Note the difference in the stereo imaging and articulation.
Let’s look at the Splitter-based FX Chain setup (Fig. 1).
Figure 1 The Splitter is set up to do multiband processing.
The Splitter is using its Frequency Split superpowers to create five bands; each band feeds an Ampire (using the Crunch Boutique amp, no stomps, and the 1 x 12 American cabinet). The Mixtool at the beginning gives about 10 dB of gain—because we’re filtering out so much sound in each band going into each Ampire, the extra gain helps hit the amp a little harder. The Pro EQ at the end (Fig. 2) produces one of my favorite amp sim curves: Rolling off the lows tightens up the sound (like going through an open-back cabinet), while shaving off the extreme highs produces a sweeter sound. The upper midrange lift adds some definition.
Figure 2: Mixtool and Pro EQ settings.
One of the Splitter’s cool features is that you can mute splits. This makes it easy to focus on, and optimize, one split at a time. For the audio example, I used the same Ampire sound for each split so you could hear the “raw” contrast between the single-band and multiband versions. You can always take this further, and optimize each band for its specific frequency range. The Dual Pans on the mids help create the stereo image; the highs and lows are centered to “anchor” the part.
Of course, it’s possible to apply multiband processing to any effect. For example, with delay you might not want to delay all frequencies—delaying low frequencies can add “mud” that doesn’t happen when you delay only the upper mids and treble. Also, long delays on the higher frequency bands and shorter, slapback-type delays on low-frequency bands may create a delay effect that fits better in a track. And splitting an instrument into multiple bands, then chorusing each one separately, can give gorgeous, lush chorusing effects.
So give multiband processing a try—the Splitter makes it easy, and there’s a ton of potential.