bottom two inserts

Right now the bottom two insets are working in a way that if i pull the fader up and down it changes the level going in to the inserts. This is not great if a compressor is in one of those two slots.

The manual says that they work as send/returns.

Is there any way to change this?

The bottom two inserts are post fader (inserts 1-6 are pre fader). This is by design and can not be changed.

And there is a reason why they are post fader.
For post production this is a superb feature as I always want my dynamic tools to be post fader.
For example in PT I have to work around this by using aux tracks for each dialog track. Time consuming and totally stupid IMO.

Bye / Tumppi

I can see the post fader inserts being helpful for limiters. To prevent overs etc, but for nearly every other process it seems less than ideal. But maybe that’s me.

Personally, I want either more inserts to be pre fader, or at least all 8 to be pre/post selectable.

Limiter AND compressor for me…

Bye / Tumppi

I’m curious,
If your compressor is POST insert doesn’t the tone of that track change based on the amount of compression thats happening.

I mean I like to get my dynamic range reduced (controlled) and then have my fader free to move up or down at will knowing the “tone” of my track isn’t going to be affected becaues I’m not changin how much I"m driving the compression.

I’m curious how this works for you as I try to avoid doing it.

There are useful applications for both pre and post-fader compression. Depends on the situation. Individual instruments? Pre-fader. Bus compression? Typically post-fader.


I want my dialog sound the same thru the whole movie. So the amount of how much is going to compressor should be in control all the time. I mix my stuff so that it hits compressor about the same all the time.
So first volume automation to even things up and then to the compressor. With volume automation I control how much audio hits the compressor.
This is of course for TV as dynamic range is not as wide as in films and listening levels are so much lower than in films.
In feature films I don’t normally use compression or limiter at all. Just mix more carefully.
If I choose to use compressor I use it as “mastering tool” to even things a bit further…

Bye / Tumppi

To me that is where Nuendo event envelopes come into play. Assign a key command to increase/decrease event volume and then simply fly through the dialog cutting and evening out level before it hits any of the inserts.

Of Course I use clip gain also. Superb feature.
But for the last round I use volume automation.
With clip gain I even material to a level where it is about the same everywhere.
Then to satisfy my neuroticism, I turn to volume automation.
If I did use only clip gain there would be just too many cuts in my tracks…

Bye / Tumppi

Just wanted to say that I agree with Tumpii.

Riding the level pre-insert let’s you hit the compressor/limiter in a more narrow range which gives you better “control” over how the dynamics hit the signal, and thus over the “sound”. And it’s a finer control than changing the gain on a per-event basis.

I think it’s a good compromise/alternative to have the ability to do this on the track as opposed to have to route through a group/aux to get it done.

This is one of my favorite nuendo features really.

on dialog for example, my edit, eq, leveling and noise control exists on the audio track with tight control over what is hitting comp/limit or harmonics with the post fader inserts.

This feeds my character subgroups which is where I balance everybody against the rest of the soundtrack. It’s nice.

In combo with the automated routing matrix… I can pull off large dialog projects with a small amount of tracks for the edit.

this set up also applies to sfx and other elements. It’s nice to be able to have that control and freely pan things around the room with out having to worry about surround plug ins for processing

Cool- interesting workflows guys,
I think I use alot of clip based envelopes but am curious to start using automation more in this way.

Of course, I tend to work more on interactive media etc where I make thousands upon thousands upon thousands of small SFX, Dialogue lines etc so it fits my workflow more to use clips based and not be bogged down writing automation.

But I can now see how for long linear scenes your workflows, well, would work better!