Chapter 12. Plug-Ins And Inserts; Using Plug-Ins In Real Time; Inserts And Sends - DigiDesign Control 24 Reference Manual

Chapter 12: Plug-Ins and Inserts

Using Plug-Ins in Real Time

Control 24 provides complete access and con-
trol to the five inserts on each Audio Track, Aux-
iliary Input track, or Master Fader.
The primary uses for these inserts is the place-
ment of in-line TDM or RTAS plug-ins. Depend-
ing on the type of effect and context of the ap-
plication, plug-ins are either inserted on a
specific track or placed on an auxiliary track that
is created specifically to receive sends from
other tracks.
There are no hard and fast rules about how and
where you should insert or add certain kinds of
effects in the signal path. Most recording con-
soles, however, are designed according to the
theory that dynamics and equalization process-
ing should be inserted directly into a channel's
signal path, while spatial or ambience effects
should be blended from a track's sends, using
discrete return busses.
Control 24 is equipped with dedicated DYN,
EQ, and general-access INSERTS buttons on each
of its 24 channel strips. In addition, the
PAN/SEND button accesses sends and panning
controls when pressed. Your entire array of TDM
and RTAS plug-ins are thereby accessible in a
natural and intuitive way.
Send and Plug-In Flip modes convert the chan-
nel faders into send level or effect parameter
controls. In Send Flip mode, the channel encod-
ers become send pan controls.

Inserts and Sends

Plug-in effects such as compressors, equalizers,
and gates are most typically used as inserts on
the track they are affecting. Spatial and ambi-
ence effects such as reverbs and delays, however,
are often inserted on auxiliary tracks. This en-
ables multiple tracks to use the auxiliary tracks
as a send destinations.
There are several benefits to the use of sends and
inserts on auxiliary tracks. The most important
aspect of this configuration is the ability to pre-
cisely control levels for each track's sends. This
enables varying amounts of the auxiliary track's
insert effect to be blended with the original
track, while keeping the original signal and its
gain structure unaffected.
Although some engineers prefer to insert ambi-
ance or spatial effects on individual tracks, it can
be more difficult to adjust and control track lev-
els than with the recommended technique of
using sends to auxiliary tracks for this type of
plug-in. This is because each adjustment of the
wet/dry ratio within a track inherently affects
the track's resulting level of dry signal within
the context of a mix.
Chapter 12: Plug-Ins and Inserts 111