My current favorite technique is the transparent cut-off technique outlined in this video:
(Mr. Bill, I love you and you are many talented things, but a voice-over actor you are not. I only mention this for forum viewers to be patient with the message here, which is brilliant.)
https://youtu.be/XOJr_QjjFQA
Could you help me come up with some more creative applications in using this rack?
It could involve the filter sweep-point, fading one end of the effect into the other, juxtaposing the ends of the spectrum, or building out the rack such that the effects can be easily swapped between the two ends of the frequency. I'll work on this last idea if you like.
Thus far, I can only think of 3 definitive uses for this, one creative, 2 utilitarian.
- 1) It's enjoyable to fiddle with separate beat repeat or beat-chopping processors after each chain. In fact, I use a 4-part split for this trick in my own set-up.
2) Using the split to affect the upper register while keeping the low intact. In doing so, reverbs are less muddy, delays don't pile-up kick drum repeats, and you save a great deal of energy in your mix as well as spare your audience of a great deal of listening fatigue.
An alternative to this is to still process both halves of the spectrum nonetheless restrict the low-end delays to divisions that are more manageable, like synchronizing delay times to 1/8 notes or larger so the kicks don't slur into each other.
3)Using compression on the low end of an overall mix to smooth out RMS levels while keeping the upper frequency's amplitudes open and intact.