You can apply plug-in effects at five different points in the recording process:

To simplify things, just remember that insert effects apply to your inputs, and send effects apply to your outputs. In addition, input insert effects are applied directly to a track when you’re recording, and master insert effects are applied at the end of the process, to your entire recording.

This chapter focuses on the most-used type of effect, the insert effect. Let’s say, for example, that you want to apply some distortion to a guitar track you’ve just recorded.

The audio from the event is routed through the selected plug-in, which adds a distortion effect to the signal. The now-distorted signal comes back into the channel and continues through the path, on to the output bus and ultimately to the monitor mix (or, when you’re ready, the final mix). Note that the original recorded event remains unchanged in the track listing, altered not at all by the process; the effect is applied to the signal after the event is played.

Compare this type of insert effect to a send effect—for example, adding reverb to a vocal track. With a send effect, the audio stays in the signal path until it reaches the output bus, where it is sent to the selected plug-in. The processed signal is then available to be sent to the monitor mix or to the final mix-down.

When, then, should you use a particular type of effect? It all comes down to how much computer horsepower each operation takes—and what type of effect you’re applying.

Let’s start by making a distinction between real-time or “online” processing versus offline processing. Online effects—which include insert, send, and master effects—are calculated and processed by your computer in real time and require tons of processing power. If you apply too many online effects at the same time, your computer will slow down considerably, and might even freeze up. (Naturally, the newer and more powerful your computer, the less of a problem this is.)

In contrast, offline effects, which are applied directly to an audio event (and subsequently change the original event) are processed before you initiate playback or mixing, and thus use up none of your computer’s precious processing power. If you need to reduce the load on your PC, you should choose offline effects over online ones whenever practical.

And, just to confuse things even more, insert effects (including input inserts and master inserts) can require more processing power than send effects. (This is why you can save processing power by using sends instead of inserts.)

Equally important, some types of effects are simply more effective when applied at specific places in the signal path. Here are some guidelines:

The first six effects slots are applied before the fader and the last two after the fader. As you can see in Figure 13.1, the signal enters the first six pre-fader inserts once it enters the channel and passes through the phase and trim control. The output level of the active effect in each insert slot determines the input level of the following insert in this chain; there is no control over the amount of output signal for the insert section as a whole. Some plug-ins, however, do offer their own output level control. After the signal passes by the access points for any sends sent to pre-fader (which are not affected by the track’s main volume fader), EQ section, level, and mute controls, it enters the two post-fader inserts.

Figure 13.1. Audio signal path of pre- and post-fader inserts.

By the way, it’s important to note that the order of insert effects matters. That is, inserts work in a chain, one after another. So if you apply a distortion effect before a compression effect, it’s going to sound different than if you apply the compressor before the distortion—in that first instance, the compression is applied to the distorted sound, while in the second instance the distortion is applied to the compressed sound.

Because the first six insert slots are not affected by the track’s main volume fader, this is the best place to apply a compressor and control the peaks of a signal. You can then use the fader to adjust a signal that has already been dynamically controlled, allowing for greater flexibility and presence when needed.

As shown in Figure 13.2, each insert effect slot has six controls:

Figure 13.2. Insert slot controls.

You also find a number of controls in the Inserts section of the Inspector. These controls affect all inserts within it:

As discussed previously, Cubase lets you apply insert effects either as traditional inserts or as input insert effects. Use input inserts to apply the effect as the track is being recorded.

In other words, input insert effects are added to the beginning of the signal path as a recording is being made. This means that the processed sound is recorded to disk; once added, you can’t remove an input insert effect.

In contrast, regular insert effects are added to the signal path just after the original channel input, which means that the audio is routed through the effect—affecting everything that comes after that point in the process. Inserts require the most processing power of any type of audio processing or effect.

When working on a mix, it is important to understand that the more effects you have running in real time (online, as opposed to offline), the more processing power is required from your computer. Each instance of an effect loaded into an insert effect slot on an individual channel uses the same processing power and memory as it does if it were loaded into an insert slot on a group or FX channel and used as the common destination for multiple sends from multiple source tracks.

With this in mind, it is highly recommended that you use the send effects (through FX channels) rather than using the inserts, if you’re going to apply the same effect with the same settings to various tracks (typical with delay and reverb effects, for example). If you need to apply the same dynamic process on several channels, route the output from all these channels to the same group channel by setting these channels’ output to an available group channel (or create one if necessary) and add an insert effect to that group channel instead. By doing so, all channels routed to this group channel will be processed through the same plug-in with the same setting, and you will use fewer computer resources, which will allow you to save these resources for when you really need them.

To monitor how your computer is doing in terms of system resources, you can take a look at the VST Performance window (Devices > VST Performance, or F12) or the Transport panel. The VST Performance window provides a tool for monitoring system performance so that, if necessary, you can make changes to your project before your computer starts to become overloaded.

And when you’re finished tweaking the inserts on a track, you can always use the Freeze command to free up some resources by temporarily freezing these settings in place. To find out more on how to use the Freeze command on audio channels, take a look at Chapter 40, “Optimizing Your Project.”