But even bigger than that, processing them like I process the band really helps them start to sound more like the band. These are some of the inputs that donвЂ™t pass through our consoles preamps so I really like to dial up the NLS plugin to help bring some natural color and warmth to each plugin.

One of the biggest reasons I run them through waves is to use the NLS plugin. As IвЂ™ve said before the key is flexibility. Well that is the breakdown of what one might typically see in our waves setup. Trx 14 (BGV): C6, Scheps Parallel Particles, CLA-2a / 3a Trx 13 (Misc 2): anything and everything needed Trx 12 (Misc 1): anything and everything needed

To fight that I always try to use the A/B rule here and make sure that every change IвЂ™m making does something positive for my mix. It is easy however to overprocess these as well because they can be so different. The choice of NLS model used varies a lot here as well and sometimes automates with each song to really make sure the right one is used for each track. The other two tracks are often the most fluid in our setup as they are used for anything that doesnвЂ™t fall into the above categories. How much I process the BGV channel depends on whether or not itвЂ™s a processed artist track or a recording we made to have backing tracks. Lastly we have some bonus channels and the BGV channel. Trx 11 (Acoustic Guitars): MaxxVolume, Vitamin, Scheps Parallel Particles, HComp Trx 10 (Electric Guitar): F6, Vitamin, HComp (often treated like a live player) Trx 9 (Perc): usually just the NLS plugin, sometimes LoAir or Renaissance Bass As with the above, you will find the NLS at the end of each chain. These are often recorded and pre-processed by our worship pastor so often all that needs to be done is just some small compression to bring them up to the playing field with the band. These next three channels are the typical tracks youвЂ™d normally hear being used for band supplementation. Trx 5-6 (Synth): Scheps Parallel Particles, Vitamin, Aural Exciter, API 2500

Trx 3-4 (Organ): Brauer Motion, Aural Exciter, API 2500, HComp Trx 1-2 (Pad): Brauer Motion (use with care here), API 2500, CLA-2a / 3a These four channels are all stereo which forces me to make sure I appropriately process each one to keep a nice wide profile. Besides putting NLS at the end of each chain IвЂ™ll often pull up a compressor and on the organ or aux keys something to bring out the unique tones in play. These first four tracks are already mastered from the original artists but occasionally I need to spice them up a bit or reign them in to fit our context. The key is keep trying new stuff and see what you can creatively do to enhance the tracks and help them blend in with the band. I donвЂ™t necessarily use each plugin each week but often IвЂ™ll load up a bunch of them, play around a bit, and see what fits. Each list is a plugin I have used with that track or am currently experimenting with. Because this varies so much each week IвЂ™m going to list my tracks inputs and then make a list of the plugins I might use to really help them shine. We donвЂ™t often use every track for every song and play a lot of songs without tracks but I quickly learned that having a flexible and extensive input list from tracks becomes a necessity to ensure maximum usage and the ability to treat different kinds of tracks differently.

EQ is programmed for each song and in waves I tailor plugin selections for what I need each track to accomplish for me. On my console these 14 inputs are completely automated. But for me, I treat them the opposite way because more often than not there is an important musical line that really needs to be heard. So many people just run these through their board and assume they are fully processed with no need for EQ or compression. In talking about what I do with tracks I think itвЂ™s better to just discuss what I could do. This week is going to be a bit different.

Waves multirack plugin