Genre Signal Chains

Complete mix bus processing chains for specific genres. Settings assume the default module order. Reorder modules as needed for your workflow.

Modern Pop / R&B

Goal: Clean, polished, radio-ready · Punchy low end · Smooth, non-fatiguing highs

Module	Settings
API5500 EQ	HP: 30 Hz · Low-mid cut: −2 dB @ 280 Hz · HM boost: +1.5 dB @ 3 kHz · High shelf: +2 dB @ 12 kHz
ButterComp2	Compress: `0.45` · Output: `0.85` · Dry/Wet: `0.60`
Pultec EQ	LF boost: +2 dB @ 60 Hz · LF cut: `0.30` · HF boost: +2 dB @ 10 kHz
Dynamic EQ	B1: Compress 100 Hz · Thr −24 dB · R 2:1 (sub tighten) · B3: Compress 3 kHz · Thr −16 dB · R 1.5:1 (smooth presence)
Transformer	Model: Modern · Input Drive: `0.25` · Input Sat: `0.20` · High Resp: `+0.3`
Punch	Mode: Soft · Ceiling: −0.5 dBFS · OS: 4× · Transient Atk: `0.30`

The API5500 low-mid cut at 280 Hz prevents vocal-guitar-bass competition from congesting. ButterComp2 at Dry/Wet 0.60 provides cohesion without obvious compression. Modern Transformer adds API-style extended high end.

Hip-Hop / Trap

Goal: Massive low end · Punchy kick and snare · Crystal clear highs · Maximum loudness

Module	Settings
API5500 EQ	HP: 25 Hz · Low shelf: +3 dB @ 80 Hz · High shelf: +4 dB @ 16 kHz
ButterComp2	Compress: `0.60` · Output: `0.92` · Dry/Wet: `0.70`
Pultec EQ	LF boost: +5 dB @ 60 Hz · LF cut: `0.50` · HF boost: +3 dB @ 8 kHz
Dynamic EQ	B1: Expand Up 60 Hz · Thr −30 dB · R 2:1 (enhance sub) · B2: Gate 200 Hz · Thr −20 dB (clear mud between hits)
Transformer	Model: Vintage · Input Drive: `0.50` · Input Sat: `0.40` · High Resp: `+0.5`
Punch	Mode: Cubic · Ceiling: −0.3 dBFS · OS: 4× · Transient Atk: `0.55`

The Pultec LF trick at 60 Hz (simultaneous boost + cut) is essential — pure boost without cut creates uncontrolled low-mid bloom. The Dynamic EQ Band 1 Expand Up enhances sub on hard-hitting passages while Band 2 Gate cleans up the mud zone on rests. Vintage Transformer adds Neve-style weight.

Rock / Alternative

Goal: Power and presence · Tight low end · Guitar cut-through · Dynamic punch

Module	Settings
API5500 EQ	HP: 40 Hz · Low-mid cut: −3 dB @ 300 Hz · HM boost: +2 dB @ 2.5 kHz · High shelf: +1.5 dB @ 10 kHz
ButterComp2	Compress: `0.50` · Output: `0.85` · Dry/Wet: `0.65`
Pultec EQ	LF boost: +2.5 dB @ 100 Hz · HF boost: +2 dB @ 10 kHz
Dynamic EQ	B2: Compress 300 Hz · Thr −18 dB · R 2:1 · B3: Expand Up 2 kHz · Thr −24 dB · R 2:1 (presence on peaks)
Transformer	Model: British · Input Drive: `0.40` · Input Sat: `0.35`
Punch	Mode: Hard · Ceiling: −0.5 dBFS · OS: 4× · Transient Atk: `0.45`

The low-mid cut at 300 Hz is critical for rock — distorted guitars produce enormous energy here and it causes “mush.” British Transformer approximates the SSL G-Bus compression character common in rock production. Hard clip mode adds harmonic grit consistent with the genre.

Electronic / EDM

Goal: Maximum loudness · Perfect clarity · Sub impact · Total cohesion

Module	Settings
API5500 EQ	HP: 20 Hz · Low shelf: +2 dB @ 60 Hz · High shelf: +3 dB @ 16 kHz
ButterComp2	Compress: `0.65` · Output: `0.95` · Dry/Wet: `0.80`
Pultec EQ	LF boost: +4 dB @ 60 Hz · LF cut: `0.40` · HF boost: +4 dB @ 15 kHz
Dynamic EQ	B1: Compress sub · B2: Gate mud · B3: Compress 4 kHz harsh resonances · B4: Expand Up HF air
Transformer	Model: Modern · Input Drive: `0.30` · High Resp: `+0.6`
Punch	Mode: Soft · Ceiling: −0.1 dBFS · OS: 8× · Transient Atk: `0.40`

ButterComp2 at Dry/Wet 0.80 creates maximum cohesion — all synths, drums, and samples become one unified sound. 8× oversampling on Punch is appropriate here since loudness maximization is the primary goal and CPU headroom is usually not a constraint in an EDM production.

Jazz / Acoustic

Goal: Natural warmth · Preserved dynamics · Depth and dimension · Minimal intervention

Module	Settings
API5500 EQ	HP: 30 Hz · Low shelf: +1.5 dB @ 80 Hz · HM: +1 dB @ 5 kHz
ButterComp2	Compress: `0.25` · Output: `0.72` · Dry/Wet: `0.30`
Pultec EQ	LF boost: +1 dB @ 60 Hz (optional) · Tube Drive: `0.10`
Dynamic EQ	B1: Compress 100 Hz · Thr −20 dB · R 1.5:1 only · other bands bypassed
Transformer	Model: Vintage · Input Drive: `0.15` · Input Sat: `0.10` · Low Resp: `+0.2`
Punch	Mode: Soft · Ceiling: −2.0 dBFS · OS: 2× · Mix: `0.60`

Dynamics are a feature in jazz and acoustic music, not a problem to solve. ButterComp2 at Dry/Wet 0.30 provides barely-perceptible harmonic glue. The Punch ceiling at −2.0 dBFS preserves natural dynamic range while preventing occasional loud peaks from causing digital overs.

Death Metal / Extreme Metal

Goal: Maximum aggression · Tight controlled low end · Scything guitar presence · Wall of sound

Module	Settings
API5500 EQ	HP: 50 Hz (cut sub mud from down-tuned guitars) · Low-mid cut: −4 dB @ 280 Hz · HM boost: +4 dB @ 3.5 kHz · High shelf: +2 dB @ 12 kHz
ButterComp2	Compress: `0.52` · Output: `0.92` · Dry/Wet: `0.90` (maximum glue)
Pultec EQ	LF boost: +4 dB @ 60 Hz · LF cut: `0.55` · HF boost: +3 dB @ 12 kHz · HF BW: `0.70`
Dynamic EQ	B1: Compress 60 Hz · Thr −20 dB · R 3:1 · B2: Gate 200 Hz · Thr −18 dB · B3: Expand Up 2.5 kHz · Thr −24 dB · R 2:1
Transformer	Model: British · Input Drive: `0.60` · Input Sat: `0.50` · Output Drive: `0.40` · High Resp: `+0.4`
Punch	Mode: Cubic · Ceiling: −0.1 dBFS · OS: 8× · Transient Atk: `0.65` · Mix: `1.0`

Down-tuned guitars (B standard or lower) create enormous sub-frequency content below 60 Hz. Without the aggressive 50 Hz HP filter, this sub energy destroys clarity and wastes headroom on frequencies the listener can’t hear musically. The −4 dB cut at 280 Hz prevents guitars from creating a wall of mud while preserving the “chunk” of palm-muted riffs.

Dry/Wet 0.90 on ButterComp2 welds the double-kick, guitars, and vocals into a single coherent wall — the hallmark of Morbid Angel, Death, and Cannibal Corpse productions from Morrisound Recording. The engineers there consistently used heavy bus compression to achieve the “one amplifier” sound.

The British Transformer at high drive approximates the SSL G-Bus character that powered classic Morrisound productions. Tom Morris and Scott Burns tracked and mixed through SSL 4000/6000 consoles, and the British model’s tight, controlled saturation captures that aggressive-but-controlled low end.

8× oversampling on Punch is appropriate because death metal mastering targets maximum loudness (−5 to −8 LUFS integrated is common) and the extra CPU cost is justified by the aliasing rejection at that loudness level.