In General use compression with :
Below the Signal Flow for a Glue MixBus
Mutiband Compressor : Compare to a normal Compressor which effects the complete spectrum, with a Multiband Compressor you can add different Compressors (with different settings) on different range of frequencies (bands).
Dynamic Eq : you can use a Compressor on different selected area(s) or point(s), the small difference between Multiband Compressor and Dynamic Eq are the filters shapes, in Dynamic Eq the filter shapes more varieted.
Saturation is a good tool to fill in the impression of loudness without leveling up the Volume
Distortion describes a more extreme effect than saturation. While saturation adds a warm characteristic to a sound without markedly changing its character, distortion breaks it up more radically. It can vary a lot in nature, from a smooth fuzz to harder-edged sound with a lot of high-end bite and a sort of buzzy sound.
It can be used for:
This specifically refers to reducing the sample rate or resolution (which causes a 'digital' distortion sound).
Bit Crusher is good if you want to boost Guitar, Drum, or synth without using a compressor.
Kick Drum : Low 50Hz -> 100Hz , Cut Mids 360Hz -> 800Hz for rock, Attack 2kHz or 4kHz depending on the style.
Eq General Triq for Kick : HPF from 30Hz (except for 808 kick), then boost the low end around or below 100Hz, then Cut the Resonance Peak above it (eg: around 160Hz), this will give more definition to the kick.
The Abbey Road reverb EQ technique not only prevents a track from swimming in reverb and thereby losing intelligibility, it also offers a means of gluing instruments and vocals together in a mix. It eliminates annoying high-frequency tails, increases clarity, yet still provides the sheen and size that reverb can impart to a sound. The trick is actually quite simple and works with any and every reverb unit; hardware or software. If you’re working with plug-ins, insert an EQ with high and low shelving filters ahead of the reverb unit. Position is important. EQ placed ahead of the reverb results in a smoother sound, since you’re equalizing the frequencies that are activating the reverb’s reflection algorithms. Since reverbs often accentuate certain frequencies, placing EQ after the reverb doesn’t have the same effect as taming the frequencies before they come in to the unit.
The essential part of this technique is to set the equalizer’s high-pass filter to a 12 or 18dB/octave slope and cut everything below 600Hz (that’s right, 600Hz). Set the low-pass filter with the same slope and cut everything above 10kHz. There you have it, the reverb EQ that Abbey Road has been using since the ’60s. However, you don’t have to stick with the high-frequency setting (the low frequency is not negotiable). You may find that cutting the highs down to 8kHz or 7kHz (or lower) works better on certain vocals or instruments in context. The idea is to reduce the highs until you can hear the vocal without the obvious high-frequency reverb tail. Another useful variation of the Abbey Road reverb EQ, in the case of vocals, is to notch out a tiny amount around 2kHz-4kHz, which will reduce possible harshness in the presence range. In the case of drums, you can cut highs further, even down to around 2.5kHz. It’s a very narrow frequency band, but it still offers all the benefits that reverb provides without adding high-frequency harshness (especially when there’s a lot of “metal-work” going on).
De-Esser can be seen as a compressor on one selected band only (high freq for sibilance) with a very fast attack time.
This tool is generally used to minimize the "S, T, P" letters.