Saturation is usually the next step after the four pillars of mixing: Volume, Panning, Dynamic, and Frequency adjustments. Although these essential steps usually define the most critical aspects of the mix, the sound engineer has other options. You can introduce additional layers of information into the mix to help certain sounds stand out within the overall space of the mix. These layers can also help restore missing parts of the signal's information.
Controlled Distortion – Saturation
One very useful tool for shaping a mix is saturation. This term encompasses a wide range of processes that enrich the original sound and add higher harmonic components. Saturation can be perceived as color or as a means of bringing out a particular sound in the recording context.
One of the plugins that simulates the input stage of an analog mix is Frond DAW. This process colors the sound right from the start as it passes through the DAW.
Saturation as Color
In this context, we introduce saturation into the mix using plugins that simulate passing through real analog equipment – of course, if we don’t own such equipment in its analog form. Each analog component in a recording studio adds a certain degree of distortion to the sound passing through it. This doesn’t mean the sound is overtly distorted – it’s a subtler form of coloration whose effect adds up across the entire mix.
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Expensive analog equipment leaves its signature on the sound. Passing through a professional mixing console like an SSL or Neve gives the sound its character without needing any EQ adjustments.
Analog gear’s distorting and non-linear behavior can now be incorporated into the mix using affordable plugins. This type of saturation strengthens the sound and gives it a warmer character.
The problem with digital recording is that it lacks these saturation processes. In the era of analog recording, many sound engineers dreamed of recording without the saturation effects inherent in analog equipment. However, with the advancement of digital recording, it became clear that the final sound needed these effects. Engineers began to replace analog parts of the studio with increasingly sophisticated plugins.
Today, there is a wide range of these software simulations to choose from, including everything from simulating the preamp stage of an analog mix to simulating the passage through an analog mixer and even the simulation of recording to tape.
Tape Recording Simulation Plugins
A popular saturation tool is plugins that simulate recording to tape. These plugins can provide a more connected and plastic-sounding mix. These plugins are especially great for rounding out the bass frequencies nicely and bringing warmth to the digital recording.
Saturation for Enhancing sounds in the mix
The second approach to these processes is deliberate distortion, which can be applied to push a specific element within the mix.
By using saturation plugins, you can help certain sounds assert themselves even in areas where they usually wouldn’t.
A classic example is bass. Bass frequencies, especially in the lower range, can be lost on devices like phones or laptops. One technique to bring the bass back into the mix is to use distortion to add missing information to its frequency spectrum.
Here’s how:
1. Copy the bass track and EQ out the sub-bass and bass frequencies from the copy.
2. Apply any distortion effect to the remaining part of the signal (around 200 Hz and above).
We cut the bass from the copy to prevent phase cancellation when interacting with the original bass signal. Adjust the distortion as needed, and don’t be afraid to use a more aggressive distortion effect. Finally, mix the new track with the original bass using a fader. This process can effectively bring the bass out in areas where it otherwise wouldn’t be heard.
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Another way to use saturation is for a more obvious effect. In the last decade, this type of distortion has become very popular – just listen to any Black Keys recording.
Distortion becomes an integral part of the overall sound. What could have been considered a flaw (i.e., the presence of any distortion in the recording) becomes a deliberate production choice.
It’s no surprise that distortion is often applied to vocals or elements like cymbals. The creative use of distortion, applied in places where we might not initially think to use it, can shape the overall production direction and result.
Decapitator is a very versatile saturation plugin that offers many colors and settings of controlled distortion.
How do you position saturation plugins in the mix?
There are no hard and fast rules for the order of plugins in a mix. There’s no “right” or “wrong.” However, we can follow certain recommendations.
One thing is certain: the order of plugins in your DAW will affect the final sound. To a large extent, it’s also a matter of experimentation or intent for how the final sound should be shaped.
One approach might be visualizing how the sound passes through an analog-connected studio. Start by placing a plugin that simulates the preamp stage of the mix at the beginning of the insert slot. After that, add a plugin to simulate the passage through an analog mixer, followed by another plugin for tape simulation. Only after these would you insert other effects, like EQ or compression.
It’s always good to consider how the following effect will interact with the previous one. For instance, how will distortion in the signal affect how a compressor behaves if placed before it?
Modern plugins like BX Saturator V2 even offer advanced features, such as saturation in a mid/side configuration. These processes not only enlarge the sound but can also fundamentally change it.
It’s also essential to monitor the output level of these plugins. Not all distortion is the same. With plugins (and digital audio processing in general), we want to avoid clipping, a form of distortion that’s damaging and only adds unpleasant, harsh noise to the sound.
The world of saturation processes offers a wide palette of colors that can be used as an additional layer or spice in the mix. Effects offer various types of distortion (tube, transistor, etc.), and in today’s plugins, we even find saturation behavior in effects like compression and EQ. These adjustments can be applied to the mix at different levels, from subtle coloring to very aggressive and obvious distortion.
