April 15, 2025 • 26 mins
Ever wondered how the pros achieve those perfectly balanced mixes and immersive effects? Marc Matthews and Tim Benson (Aisle9) explain the difference between pre-fader and post-fader sends, the key to balanced mixes and immersive effects. Many overlook this fundamental signal flow, yet mastering it is the secret to professional sound.
Discover when to use pre-fader sends (ideal for independent monitor mixes) and when to use post-fader sends (perfect for lush reverb and delay - learn how to use post-fader sends for reverb and delay!). Understand how pre-fader sends work (signal before the fader) and how post-fader sends work (proportional to the fader).
Explore why you'd use a pre-fader send for effects and the advantages of using pre-fader sends (consistent monitor levels, unique effects) and post-fader sends (natural effect balances). We'll also touch on how pre/post-fader sends affect aux tracks/returns and when to use pre-fader sends for parallel processing. Join Marc and Tim as they demonstrate that there are no rigid rules, only a universe of creative possibilities waiting to be unlocked.
Links mentioned in this episode:
Got a question? We'd love to hear from you! Submit a question, share your social media handles or website, and get featured in a future episode. Plus, one lucky question will win a Starbucks voucher each month!
Book your FREE 20 Minute Discovery Call
Follow Marc Matthews' Socials:
Instagram | YouTube | Synth Music Mastering
Thanks for listening!!
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Marc Matthews (00:00):
Now my workflow with that is, if I was sending
the signal out to a compressorfor a sort of parallel
compression, for example, Iwould do it pre-fader, because
once I've got that set I don'twant my fader movements to then
affect any gain reduction or howthat compressor responds to the
audio.
(00:20):
That's something I tripped up alot on when I first started this
way, back when, years and yearsago, until somebody said to me
why are you doing that?
Why are they post-fader?
And then I realized, oh yeah,they're not actually doing
anything.
You're listening to the Insidethe Mix podcast with your host,
Mark Matthews.
Welcome to Inside the Mix, yourgo-to podcast for music creation
(00:43):
and production.
Whether you're crafting yourfirst track or refining your
mixing skills, join me each weekfor expert interviews,
practical tutorials and insightsto help you level up your music
and smash it in the musicindustry.
Let's dive in.
Hello folks, welcome to Insidethe Mix.
Welcome back if you are areturning listener or viewer, if
(01:06):
you're watching this on YouTube.
So in today's episode I amjoined again by the Watch it
Wanderer himself, tim aka Aisle9.
So he's joining me today andwe're going to be tackling
another listener question.
So before we do that, if you dohave a question we'd love to
(01:26):
hear from you.
You can click the SpeakPipelink in the episode description
and submit up to 30 seconds of aquestion.
Hey, tim, mark, mark, tim,whichever way around you want to
do it, my question is da, da,da.
And then give yourself a shoutout.
You can find me at XYZ, ormaybe you're releasing some
music or something and it'severgreen content, so it'll
always be in that episode.
(01:46):
Alternatively, if audio isn'tyour thing, you can just dm me
at inside the mix on instagramand send me a dm with a question
, or email me, mark at synthmusic masteringcom.
You'll find links in theepisode description to all this.
If you are new to this and youwant to get an idea of how it's
going to sound, you can checkout episode 175.
(02:07):
In fact, just listen to thisepisode.
You'll get an idea, to behonest, but you can go back and
listen to episode 175, which isthe most popular one so far of
2025.
Now, technically, we didrelease it at the end of 2024.
However, it's been anincredibly popular episode, so
that's enough of my ramble.
Uh, tim, welcome back.
How are you?
Tim Benson (Aisle9) (02:25):
Yeah, I'm all right.
Thanks, and yourself yeah.
Marc Matthews (02:27):
I'm okay.
I'm okay.
My voice, as we were saying,off air at times I think it did
then in the intro might drop alittle bit.
I've got some I don't know ifthey're canker sores that sounds
like something you get on yourfoot.
I think I've got something likethat in my throat.
I could be wrong.
That's a self-diagnosis fromNHS Online.
So, yeah, my voice drops everynow and again.
Tim Benson (Aisle9) (02:49):
Yeah, well, I'm hobbling around, but other
than that, I'm all right.
Yeah, I seem to have annoyed myknee, but other than that, I'm
okay yeah.
Marc Matthews (02:58):
Yeah, something in the water in the southwest.
Maybe I was actually in yourneck of the woods yesterday.
I went the southwest.
Maybe I was actually you're inin your neck of the woods.
Uh, yesterday I went to dunsteryeah, lovely, yeah, I did.
Yeah, yeah, I went.
Indeed, I went with my fianceeand we went for a wander around
dunster castle.
Tim Benson (Aisle9) (03:15):
I'm a national trust uh member.
Yeah, it's, it's.
It's a nice place to go,dunster castle.
I sort of you have to resistthe piano.
Marc Matthews (03:21):
There's a piano in dunster castle that you can
just play I think somebody wasso I Dunster Castle that you can
just play.
I think somebody was so Iquickly left.
Tim Benson (Aisle9) (03:28):
Yeah, yeah, you could just start playing it
.
So I was tempted to play myappalling version of Boogie
Woogie Piano, but I decidedthat's my party.
Piece is to pretend I'm JulesHollum for five minutes until
people realise I've only gotthree riffs.
Marc Matthews (03:46):
Yeah, that was me most of my life when I was
playing guitar to be honest,whenever I'd go into a guitar
shop, I only had about threeriffs.
Uh, get back to the topic ofthis episode.
So we're answering yourquestions.
So this particular question wasactually a comment on one of my
youtube videos, so it goes backto episode 125 and the question
was what are some creative usesof pre and post faders in music
(04:07):
production?
So quite a nerdy question, tobe honest.
Not doing any disservice, butwe're going to dive into that.
So in this episode, thedifference between pre and post
faders, some examples of whenyou might use both and maybe
some tips to avoid commonmistakes as well.
(04:27):
So, pre and post faders, whatare pre and post faders?
So maybe I'll do pre fader andthen you can do post fader too.
Tim Benson (Aisle9) (04:36):
All right, okay, maybe we'll do that yeah.
Marc Matthews (04:38):
So, pre fader, we're sending a signal via an
auxiliary send to a bus orbusing out to an auxiliary send,
rather get it around the rightway, and it is pre-fader.
So any movements we make tothat fader, it's not going to
affect the signal that is sentvia that auxiliary send to that
channel, wherever it is you'resending, whether it's an
auxiliary send or it's toanother channel, whatever it may
(04:59):
be.
So that's essentially, in anutshell, what pre-fader is.
It is literally pre-fader.
If you can imagine a mixingboard, a desk in front of you,
it's that pre that fadermovement.
So that fader movement's notgoing to affect the signal.
Um, I'll throw, throw a postfader over to you, tim yeah,
throw the fader to me.
Tim Benson (Aisle9) (05:16):
Yeah, indeed.
So yeah, um, there was a throwthe fader joke in there.
Yeah, basically, uh, post faderis going to be that the signal
you're sending out of yourauxiliary will be changed by the
movement of the fader.
So it comes in the signal chainafter the fader, so the signal
(05:37):
um will be affected by themovement of the fader.
So as you pull the fader down,you know the amount of signal
going to that auxiliary will godown to um, no matter what level
you've sent to it.
It will reduce with the faderor go up with the fader if you
push it up.
Marc Matthews (05:53):
So there we go indeed, yes, yes, ideal for
natural effects blending.
I've got my notes written downhere, but we do have another one
that we were discussing beforewe joined, or rather started
this, this episode, and that waspost pan not the elusive
character from hook, but postpan, uh which we were discussing
(06:14):
, weren't we, whether that'spost fader and then post pan or
whether it's just post pan, butI believe it is post fader than
post pan.
I'll probably get corrected onthat, but the idea being that
the signal is representedwherever you position it in the
stereo field, in the stereochannel that you send it to.
So if you've got a vocal that'sslightly left or slightly right
(06:35):
, it's, then they're going toappear slightly left and
slightly right in the channel orthe send, wherever you're
sending it, and we werediscussing as well before this
started.
It's not something that Ireally think that much about.
Tim Benson (Aisle9) (06:47):
No not at all, really.
No, me, neither no, and it alldepends.
I suppose it all depends aswell whether the auxiliary send
is a stereo auxiliary send or amono auxiliary send because you
can't represent pan in a monoauxiliary fan sound but like um,
as far as I know, we wenormally a lot of the time in
(07:11):
your typical daw, your kind ofsession.
You're talking about a stereoyeah sort of um presentation of
it, but like one one use that Idid think that is probably
something worth saying whichprobably doesn't come into your
standard music production, likewe're doing, but comes into live
music production a lot.
(07:31):
And when you and does come into, like if you're recording a
band in a studio, is that liketypically, you will use
auxiliaries to send a separatemix to like people and live
things.
You might send them to yourmonitors on stage, to your
in-ears you might send them likea headphone mix yeah, headphone
(07:52):
mix to band members in thestudio and you would typically
do that pre-fader because youdon't want the mixer who's
mixing front of house, let's sayfor the band, or, when you're
in the studio, the engineerwho's recording and listening
(08:14):
back in the control room.
You don't want movements oftheir mix to affect the mix in
the band's ears, in the monitors.
So it's called a cue mix, isn'tit really at that point.
But you would do that pre-faderalways, and it's a classic one
not to do it pre-fader.
(08:35):
And then things go awry veryquickly when you're trying to
set up mixes.
You've got a stage full ofmusicians and you're busy,
you've got that on the wrongsetting and like you're suddenly
finding that every time youchange a sound out front it's
changing their mix in theirheadphones.
Marc Matthews (08:55):
Yeah, yeah, it's not what I thought about, to be
fair, because it's been a verylong time since I've recorded,
been in a recording studio andactually like recorded any sort
of musicians in one, in onespace in particular, all
together, uh, but yeah, I hadn'treally thought about that
interesting or, like you say,live sound as well.
You got the um, the in-ear mixas well.
Tim Benson (Aisle9) (09:15):
Yeah, yeah, yeah, yeah so if you're a
gigging musician at the minutetaking your door out and doing
all those you know you mightwant to think about that kind of
thing.
Because I did that where I sortof wanted to give myself.
You know, from my daw I wantedto give a when I was doing the
live thing at the fleece, wantedto give the, the front of house
, one sort of mix and wanted togive me and the drummer
(09:35):
different mixes, um, when wewere performing.
So we need to make sure theywere pre-fader and go.
Marc Matthews (09:43):
You know what, whenever I gigged I I don't
suppose we ever got to the levelwhere we really needed them,
but I never used, I neveractually gigged within ears.
I never experienced it, neverdid experience it.
So once one thing I'd like to Iused to gig with um sort of uh,
what they call it, uh in yourears protection, ear protection,
whatever it may be.
Uh, but never actually having a, a mix going into into my ears.
(10:04):
In that sense it would havebeen interesting to do.
Maybe it's something I'll addthat to my bucket list to
actually perform a live showusing in-ears.
I did mixes for people within-ears but never used them
myself, interestingly.
Tim Benson (Aisle9) (10:15):
Yeah, no, it can be great when they're
really good and can beunbelievably terrible when
they're bad.
Marc Matthews (10:21):
I can imagine.
Tim Benson (Aisle9) (10:22):
At which point you throw them out and
hope you can hear something onthe stage.
Yeah, you see that, don't you?
Sometimes you?
Marc Matthews (10:27):
see the the vocalist, and suddenly you just
see them rip out the in-ear andthen they're just going for it.
You think something's possiblygone awry there with their uh
with them with their in-ear,with their, with their mix there
, uh, but let's move on to thecreative, creative ways to use
pre-fader sends.
So obviously we've got sendingit out to reverbs, to delays,
(10:48):
and we're going to use postfader in that instance.
So it's relative stays,relative to the, the sort of wet
signal and then the dry signal,um, but what about use cases
for pre-fader going out to sortof time-based processing?
What are your thoughts on that?
Tim Benson (Aisle9) (11:05):
yeah, I mean, I, I well, I, I actually
use it quite a lot.
I didn't use to, um, nearly asmuch as I do now.
But like I think you know, sayyou've got you know a synth and
you want to particularly getthat synth sound to sort of you
know really sort of blend rightto the background of a mix.
(11:27):
You know, I mean I think verymuch how you think of mixing in
three dimensions and sort of themore wet something is, the more
it disappears and it sits backin the mix, and the drier it is,
the more up front it is.
So you know, say you wanted tomake that synth feel like it
sits at the back of the mix more.
Yeah, you can just turn up theauxiliary so it's got more
(11:49):
reverb on it.
But you may reach a point wherethat's you know, you've got so
much of the dry signal, you'vegot a kind of 50've got so much
of the dry signal, you've got akind of 50-50 blend, haven't you
of dry signal and wet signalreally in your mix and you might
go well, that's not kind ofreally the blend I want.
I want a much more wet signal.
So if you change that topre-fader, you can definitely
(12:11):
push up the, the pre-fade sendand then take your.
You can reduce your fader, your, your channel fader, down until
the point where you've got muchmore of a wet blend.
You know, and that could be areally good thing.
Um, because you might not wantthe, the sound, to be that loud
(12:32):
in the mix, you might want it tobe sitting quite quietly in the
mix, at which point youwouldn't have if it was going
post fader, you wouldn't haveenough signal to get a really
wet sound on on on the reverb.
So you know, if you want toreally reap a wet sound but like
quite low in the mix, thenpre-fader might be a way to
(12:52):
achieve that.
Marc Matthews (12:52):
That's what I'd suggest it's kind of like really
over emphasizing the wet soundversus the, versus the, the dry
sound.
It's an interesting one that.
So it's not something that I doa massive amount of and I've
never had to actually do it.
But do you ever and I'mthinking off the top of my head
here and I'm thinking, would Ido this, but you do you have a
(13:13):
separate pre and post fadeascend going to the same reverb
to put for?
Because I'm thinking herebecause in a song you might have
this really sort of ambientsection or breakdown and you
really want to emphasize thatwet signal and you could do what
you did what you said there,which is where you're going to
drop out the dry signal andreally and just have that that
sort of reverb.
(13:33):
But throughout the rest of thetrack you might want the reverb
to remain relative to the audioitself and have it in post fader
.
Tim Benson (Aisle9) (13:40):
So in which case, because I think, to
myself, so you could have two,two auxiliary sends one set pre
one set to post, yeah yeah Ihaven't done that either, but
like it's totally logical.
Yeah, I can see a point indoing that?
Yeah, yeah I might.
Marc Matthews (13:53):
I might experiment with that.
It's not something I've evertried doing.
I guess it's because, in allhonesty, I don't really think a
massive amount about panning Notpanning I do about panning,
about pre and post-fader sounds.
I just kind of think, oh,that's the sound I want, I'll do
it, and then it sort ofmaterializes from that.
With regards to that, I'mthinking of synths here and what
(14:17):
.
What I like to do is, when I'vegot multiple sort of synth
sounds going on, I like to haveone sort of main reverb for the
synths and then send them all tothat particular reverb just to
glue and blend them all together.
Do you do something similar ordo you have separate?
What's your workflow with that?
Tim Benson (Aisle9) (14:31):
so you mean , do you send them from the
channels or just sort of blendlike a group of them?
Is that what you're meaning?
Marc Matthews (14:37):
oh, send it from the channels, send it from the
channels themselves.
So, on each reverb, I've gotsorry.
On each synth I've got a sendgoing to us, let's say, air
quotes, synth reverb, and thenjust putting them all in one
space, um, that's what I tend todo do you do?
Tim Benson (Aisle9) (14:54):
I probably tend to do that, although I
sometimes blend.
So I'll have like a shortreverb, long reverb or slightly
different feel of reverb, like aplate in a hall or something
like that, and I may be blendingdifferent elements so like they
may be going to more than onereverb, like within the mix.
(15:16):
You know the same, so you might.
All the synths might haveslightly different blends on
them are often, to be honest,you know, I mean since come a
lot of the vsts now like comewith so much reverb on them that
you spend half your time tryingto take the original ones off,
or blend them in correctly, butum, and that that's um and that
(15:37):
obviously would affect how you,you know um, your your sort of
send routine.
You need to think about thatsometimes, about sort of taking
effects off, so that you've gotmore control in the mix with
these kind of techniques, as wemean, as we're talking, because
if you don't do that you haven'tgot much control in the first
place.
Marc Matthews (15:55):
You know it's interesting you mentioned that
about the effects within a synth, because for the most part,
like you say, the majority ofthem do come with them and it's
something that I generally, uh,just turn off for the most part.
And then I like to see maybesometimes I cut off my nose to
spark my face and doing that andit might actually sound better
with the reverb in it.
(16:16):
But I'm like no, I'm not goingto do that, I'm going to do it
the way I usually do it.
So maybe I need to.
I guess that's the thing.
It goes back to what we saidthere earlier about the use of
multiple sends.
There aren't really any rules.
I guess you could do it as longas it the classic isn't it as
long as?
It sounds good, it is good thatclassic phrase that goes on.
Tim Benson (Aisle9) (16:38):
But another we've touched on there on the
use of time-based processing.
Marc Matthews (16:43):
What about things or processes with regards to
sort of dynamic range control,let's say compression for
example?
And now my workflow with thatis, if I was sending the signal
out to a compressor for a sortof parallel compression, for
example, I would do it pre-fader, because once I've got that set
(17:04):
, I don't want my fadermovements to then affect.
No, you don't want your fadermovements to affect that Exactly
, affect any gain reduction orhow that compressor responds to
the audio?
That's something I tripped up alot on when I first started.
Uh, this way back when, yearsand years ago, until I somebody
said to me, why are you doingthat?
Uh, why are they post fader?
(17:25):
Then I realized, oh yeah,they're not actually doing
anything.
Um, when I, when I moved that,so is that something you do as
well, or do you?
Yeah?
Tim Benson (Aisle9) (17:31):
can you think of a?
Marc Matthews (17:31):
use case where you might do it differently.
Tim Benson (Aisle9) (17:33):
I can't think of one really uh, hmm, boy
, you've got me stumped there Ican't think of one.
No, because I agree, like, ifyou're doing a dynamics thing
like that, then it's parallel.
You, you don't want the yeah,you don't want it to change as
you move the fader, like because, um, well, yeah, I said hmm, I
(17:57):
suppose, well, I don't know, Imean, you don't, yes, this is
tricky, because you don't wantthe amount of send that you're
putting into that dynamicsprocessor, because you're, you
say you're putting the drum busthrough and you're putting,
you're getting a nice parallelcompression on there, then
you're not going to want that tochange depending on where you
set the fader of the drum mix.
(18:17):
But, um, but there again, um,you are going to want the amount
of parallel compression you'reputting back into your mix to
change alongside your overalldrum mix, aren't you?
Marc Matthews (18:33):
yeah, yeah yeah, yeah, so you say you, so you've
got.
Tim Benson (Aisle9) (18:36):
But you'll naturally balance that up by ear
, won't you?
You'll kind of change the drumsand then you'll balance them
down.
So yeah, I know what you mean.
I don't know that there's an100 correct or wrong way to do
that, but I think I would do itthe same way as you where I'd
send it in pre-fader into that.
I mean, I really enjoy the kindof thing of sending to reverbs
(18:59):
on sort of vocals and stuff likepre-fader, because sometimes I
really like that thing of fadingsomething out into the reverb
or into delay as well.
That can be really good.
Another thing, which isn't thepre-postader thing, but I, I I
do really like that was doing ittoday, where I was sending,
(19:19):
like my, my reverb returns backinto a delay.
Marc Matthews (19:24):
So yeah, I do it the other way interestingly.
Yeah, yeah, yeah, but I'm gonnatry it that way yeah, yeah.
Tim Benson (Aisle9) (19:31):
So I mean both are interesting.
So you know, this whole kind ofsignal flow of where you decide
to send something, where youput it in there and and it can
be, can create different things.
And yeah, that whole sort ofthing of like, um, sort of pre
or post, can make it quitedifferent, a different effect,
um.
But it is sometimes nice to befading things out into, into,
(19:54):
like at the end of a song orsomething you maybe want, like,
I mean, I don't know, quiteoften I've had that where I sort
of want to fade everything down, but like the reverb to sort of
stay or something or continueacross.
You know.
Marc Matthews (20:08):
So I really like the idea of that.
Yeah, it's quite nice.
I quite like the idea of I'mthinking with synths in
particular of just everythingfades down, as it were, and then
you're just left with this niceambient synth, this ambient
tail coming on which you then,of course can fade down on the
(20:28):
return, the, on the returnitself.
Tim Benson (Aisle9) (20:30):
So you know , um so so you have got complete
control.
But yeah, you can get adifferent effect than just
fading everything downstraightforwardly yeah, also
with.
Marc Matthews (20:40):
I'm thinking as well with, with pre-faders, with
, with.
It goes back to compression aswell, with side chain
compression ah yeah, would beanother use case for it as well
with pre-fader.
Tim Benson (Aisle9) (20:49):
I can't think of why you would go the
other way again, which wouldmake sense yeah yeah,
sidechaining things yeah yeah,that whole sort of thing of,
yeah, you need the volume, youneed consistent sort of volume.
So, yeah, and that could beuseful.
I've done that.
Um, ah, that's an interestingpoint, I'd not thought of this.
(21:09):
But like, uh, you're right.
Like, for instance, if you'reside chaining off a kick let's
say you're using your kick toside chain, a compressor on your
bass um, uh, then I've done itwhere I've gone, like, say,
there's a period where you don'twant your kick drum in there,
but you still want the sidechaining to be going on then,
(21:31):
you use the pre-fade to besending to the side chain.
So the pre-fade off of the kicksends to the side chain and then
you duck the main volume out ofthe kick drum.
In the mix you automate that soit's not there for eight bars
but the kick is still going viathe pre-fade.
(21:51):
Send to the compressor andyou'll still get the ducking
effect.
Marc Matthews (21:56):
You know, you know what that's.
That's exactly what I do, butI'd never thought of just
ducking the kick drum.
I duplicated the track.
Tim Benson (Aisle9) (22:04):
Ah, yeah, yeah, with the midi or with the
kick drum or the kick drumrecording and just use that as a
sidechain.
Marc Matthews (22:11):
Yeah, yeah, with no stereo output, so there's no
audio coming from it.
Tim Benson (Aisle9) (22:14):
Yeah, I've done the same as well.
Marc Matthews (22:15):
Yeah, yeah, which I suppose.
But when you mentioned it there, I'm thinking why don't I just
automate the fader just to dropat that point?
That would make more sense.
Tim Benson (Aisle9) (22:29):
But again make balls, but again the beauty
of music.
Marc Matthews (22:32):
There's more than one way to more than one way to
do it, but yeah, yeah, yeah,exactly I.
Tim Benson (Aisle9) (22:34):
I think that wraps up our discussion on
on pre and post faders umalthough we haven't really
thought of many good uses forpost pan, there we go.
Marc Matthews (22:41):
No, no when we were discussing the compression
side of things, I was thinkingto myself is that, is there?
Is there a use case there forpost pan, maybe?
If I mean, how would that linkto because I've never done this,
I'm thinking off the top of myhead how would that link to if
you are compressing the left andright channels differently?
Would would that make anydifference?
(23:04):
I'd have to, I'd have toexperiment with it.
Tim Benson (Aisle9) (23:06):
I I think I could be wrong, because I don't
know whether that's post-panand post-fader or not yeah, yeah
, yeah but if it's not, and it'sjust post the pan but not the
fader, so it's pre-fader butpost-pan then that would
actually be exactly how youwould want to potentially send
(23:28):
something to headphones.
Maybe if you were replicating amix in headphones or something
that's the only thing I couldthink of is like, say, you want
to copy the mix you've got topeople's headphones so they can
hear it, but they want to havevolume control.
Marc Matthews (23:41):
That you might send it the other side of the
pan, but you know, yeah, and Irealized I answered my own
question there when I said aboutcompressing the left and right
channel differently, because ifit is post-fader, then that
totally sort of contradicts whatwe were discussing there about
dynamic range control inpre-fader.
So I sort of answered my ownquestion.
Now that I think about it, I'mgoing to pay more attention to
(24:08):
going forward with regards tothe changes just how it sounds
and creating these sends andwhatnot with PostPan, and also
dig into it a bit more in termsof answering our question
whether it's PostFader as well.
No doubt we will get somebodyto turn around and say yes or no
, which will be quite helpful.
So if you're watching this onYouTube, please knock it in the
comments.
Enlighten us.
(24:29):
I'm assuming you've got Postpanand Cubase right, would?
Tim Benson (Aisle9) (24:33):
I be correct.
I'm assuming you're right,which means I don't know.
I will look.
I honestly haven't had a reasonto use it, so obviously pre and
post, but almost certainly, Iwould think, because Cubase is
never short of options like that.
It's just like you know, lifeis short yeah, I was going to
(25:02):
say on that.
Marc Matthews (25:03):
We'll end it on that, on that sort of summary
there of that.
Folks, if you have enjoyed thisand you have a question that
you would like Tim and I toattempt to answer or answer in
one of these episodes, please,as I said right at the beginning
, use that SpeakPipe link, sendus a message.
You don't need an account withSpeakPipe, you don't need a
(25:24):
particular setup.
You can just use your mobilephone like you're sending a
WhatsApp message or whateverother platform you use for your
instant messaging, and you cansend that.
Alternatively, just DM me onInstagram it's probably the
easiest way with your questionand you can get featured on the
podcast.
Tim, it's been a pleasure Untilnext time.
I'll, yeah, hope the leg getsbetter.
(25:46):
I'll speak to you soon.
Now my workflow with that is, if I was sending
the signal out to a compressorfor a sort of parallel
compression, for example, Iwould do it pre-fader, because
once I've got that set I don'twant my fader movements to then
affect any gain reduction or howthat compressor responds to the
audio.
(00:20):
That's something I tripped up alot on when I first started this
way, back when, years and yearsago, until somebody said to me
why are you doing that?
Why are they post-fader?
And then I realized, oh yeah,they're not actually doing
anything.
You're listening to the Insidethe Mix podcast with your host,
Mark Matthews.
Welcome to Inside the Mix, yourgo-to podcast for music creation
(00:43):
and production.
Whether you're crafting yourfirst track or refining your
mixing skills, join me each weekfor expert interviews,
practical tutorials and insightsto help you level up your music
and smash it in the musicindustry.
Let's dive in.
Hello folks, welcome to Insidethe Mix.
Welcome back if you are areturning listener or viewer, if
(01:06):
you're watching this on YouTube.
So in today's episode I amjoined again by the Watch it
Wanderer himself, tim aka Aisle9.
So he's joining me today andwe're going to be tackling
another listener question.
So before we do that, if you dohave a question we'd love to
(01:26):
hear from you.
You can click the SpeakPipelink in the episode description
and submit up to 30 seconds of aquestion.
Hey, tim, mark, mark, tim,whichever way around you want to
do it, my question is da, da,da.
And then give yourself a shoutout.
You can find me at XYZ, ormaybe you're releasing some
music or something and it'severgreen content, so it'll
always be in that episode.
(01:46):
Alternatively, if audio isn'tyour thing, you can just dm me
at inside the mix on instagramand send me a dm with a question
, or email me, mark at synthmusic masteringcom.
You'll find links in theepisode description to all this.
If you are new to this and youwant to get an idea of how it's
going to sound, you can checkout episode 175.
(02:07):
In fact, just listen to thisepisode.
You'll get an idea, to behonest, but you can go back and
listen to episode 175, which isthe most popular one so far of
2025.
Now, technically, we didrelease it at the end of 2024.
However, it's been anincredibly popular episode, so
that's enough of my ramble.
Uh, tim, welcome back.
How are you?
Tim Benson (Aisle9) (02:25):
Yeah, I'm all right.
Thanks, and yourself yeah.
Marc Matthews (02:27):
I'm okay.
I'm okay.
My voice, as we were saying,off air at times I think it did
then in the intro might drop alittle bit.
I've got some I don't know ifthey're canker sores that sounds
like something you get on yourfoot.
I think I've got something likethat in my throat.
I could be wrong.
That's a self-diagnosis fromNHS Online.
So, yeah, my voice drops everynow and again.
Tim Benson (Aisle9) (02:49):
Yeah, well, I'm hobbling around, but other
than that, I'm all right.
Yeah, I seem to have annoyed myknee, but other than that, I'm
okay yeah.
Marc Matthews (02:58):
Yeah, something in the water in the southwest.
Maybe I was actually in yourneck of the woods yesterday.
I went the southwest.
Maybe I was actually you're inin your neck of the woods.
Uh, yesterday I went to dunsteryeah, lovely, yeah, I did.
Yeah, yeah, I went.
Indeed, I went with my fianceeand we went for a wander around
dunster castle.
Tim Benson (Aisle9) (03:15):
I'm a national trust uh member.
Yeah, it's, it's.
It's a nice place to go,dunster castle.
I sort of you have to resistthe piano.
Marc Matthews (03:21):
There's a piano in dunster castle that you can
just play I think somebody wasso I Dunster Castle that you can
just play.
I think somebody was so Iquickly left.
Tim Benson (Aisle9) (03:28):
Yeah, yeah, you could just start playing it
.
So I was tempted to play myappalling version of Boogie
Woogie Piano, but I decidedthat's my party.
Piece is to pretend I'm JulesHollum for five minutes until
people realise I've only gotthree riffs.
Marc Matthews (03:46):
Yeah, that was me most of my life when I was
playing guitar to be honest,whenever I'd go into a guitar
shop, I only had about threeriffs.
Uh, get back to the topic ofthis episode.
So we're answering yourquestions.
So this particular question wasactually a comment on one of my
youtube videos, so it goes backto episode 125 and the question
was what are some creative usesof pre and post faders in music
(04:07):
production?
So quite a nerdy question, tobe honest.
Not doing any disservice, butwe're going to dive into that.
So in this episode, thedifference between pre and post
faders, some examples of whenyou might use both and maybe
some tips to avoid commonmistakes as well.
(04:27):
So, pre and post faders, whatare pre and post faders?
So maybe I'll do pre fader andthen you can do post fader too.
Tim Benson (Aisle9) (04:36):
All right, okay, maybe we'll do that yeah.
Marc Matthews (04:38):
So, pre fader, we're sending a signal via an
auxiliary send to a bus orbusing out to an auxiliary send,
rather get it around the rightway, and it is pre-fader.
So any movements we make tothat fader, it's not going to
affect the signal that is sentvia that auxiliary send to that
channel, wherever it is you'resending, whether it's an
auxiliary send or it's toanother channel, whatever it may
(04:59):
be.
So that's essentially, in anutshell, what pre-fader is.
It is literally pre-fader.
If you can imagine a mixingboard, a desk in front of you,
it's that pre that fadermovement.
So that fader movement's notgoing to affect the signal.
Um, I'll throw, throw a postfader over to you, tim yeah,
throw the fader to me.
Tim Benson (Aisle9) (05:16):
Yeah, indeed.
So yeah, um, there was a throwthe fader joke in there.
Yeah, basically, uh, post faderis going to be that the signal
you're sending out of yourauxiliary will be changed by the
movement of the fader.
So it comes in the signal chainafter the fader, so the signal
(05:37):
um will be affected by themovement of the fader.
So as you pull the fader down,you know the amount of signal
going to that auxiliary will godown to um, no matter what level
you've sent to it.
It will reduce with the faderor go up with the fader if you
push it up.
Marc Matthews (05:53):
So there we go indeed, yes, yes, ideal for
natural effects blending.
I've got my notes written downhere, but we do have another one
that we were discussing beforewe joined, or rather started
this, this episode, and that waspost pan not the elusive
character from hook, but postpan, uh which we were discussing
(06:14):
, weren't we, whether that'spost fader and then post pan or
whether it's just post pan, butI believe it is post fader than
post pan.
I'll probably get corrected onthat, but the idea being that
the signal is representedwherever you position it in the
stereo field, in the stereochannel that you send it to.
So if you've got a vocal that'sslightly left or slightly right
(06:35):
, it's, then they're going toappear slightly left and
slightly right in the channel orthe send, wherever you're
sending it, and we werediscussing as well before this
started.
It's not something that Ireally think that much about.
Tim Benson (Aisle9) (06:47):
No not at all, really.
No, me, neither no, and it alldepends.
I suppose it all depends aswell whether the auxiliary send
is a stereo auxiliary send or amono auxiliary send because you
can't represent pan in a monoauxiliary fan sound but like um,
as far as I know, we wenormally a lot of the time in
(07:11):
your typical daw, your kind ofsession.
You're talking about a stereoyeah sort of um presentation of
it, but like one one use that Idid think that is probably
something worth saying whichprobably doesn't come into your
standard music production, likewe're doing, but comes into live
music production a lot.
(07:31):
And when you and does come into, like if you're recording a
band in a studio, is that liketypically, you will use
auxiliaries to send a separatemix to like people and live
things.
You might send them to yourmonitors on stage, to your
in-ears you might send them likea headphone mix yeah, headphone
(07:52):
mix to band members in thestudio and you would typically
do that pre-fader because youdon't want the mixer who's
mixing front of house, let's sayfor the band, or, when you're
in the studio, the engineerwho's recording and listening
(08:14):
back in the control room.
You don't want movements oftheir mix to affect the mix in
the band's ears, in the monitors.
So it's called a cue mix, isn'tit really at that point.
But you would do that pre-faderalways, and it's a classic one
not to do it pre-fader.
(08:35):
And then things go awry veryquickly when you're trying to
set up mixes.
You've got a stage full ofmusicians and you're busy,
you've got that on the wrongsetting and like you're suddenly
finding that every time youchange a sound out front it's
changing their mix in theirheadphones.
Marc Matthews (08:55):
Yeah, yeah, it's not what I thought about, to be
fair, because it's been a verylong time since I've recorded,
been in a recording studio andactually like recorded any sort
of musicians in one, in onespace in particular, all
together, uh, but yeah, I hadn'treally thought about that
interesting or, like you say,live sound as well.
You got the um, the in-ear mixas well.
Tim Benson (Aisle9) (09:15):
Yeah, yeah, yeah, yeah so if you're a
gigging musician at the minutetaking your door out and doing
all those you know you mightwant to think about that kind of
thing.
Because I did that where I sortof wanted to give myself.
You know, from my daw I wantedto give a when I was doing the
live thing at the fleece, wantedto give the, the front of house
, one sort of mix and wanted togive me and the drummer
(09:35):
different mixes, um, when wewere performing.
So we need to make sure theywere pre-fader and go.
Marc Matthews (09:43):
You know what, whenever I gigged I I don't
suppose we ever got to the levelwhere we really needed them,
but I never used, I neveractually gigged within ears.
I never experienced it, neverdid experience it.
So once one thing I'd like to Iused to gig with um sort of uh,
what they call it, uh in yourears protection, ear protection,
whatever it may be.
Uh, but never actually having a, a mix going into into my ears.
(10:04):
In that sense it would havebeen interesting to do.
Maybe it's something I'll addthat to my bucket list to
actually perform a live showusing in-ears.
I did mixes for people within-ears but never used them
myself, interestingly.
Tim Benson (Aisle9) (10:15):
Yeah, no, it can be great when they're
really good and can beunbelievably terrible when
they're bad.
Marc Matthews (10:21):
I can imagine.
Tim Benson (Aisle9) (10:22):
At which point you throw them out and
hope you can hear something onthe stage.
Yeah, you see that, don't you?
Sometimes you?
Marc Matthews (10:27):
see the the vocalist, and suddenly you just
see them rip out the in-ear andthen they're just going for it.
You think something's possiblygone awry there with their uh
with them with their in-ear,with their, with their mix there
, uh, but let's move on to thecreative, creative ways to use
pre-fader sends.
So obviously we've got sendingit out to reverbs, to delays,
(10:48):
and we're going to use postfader in that instance.
So it's relative stays,relative to the, the sort of wet
signal and then the dry signal,um, but what about use cases
for pre-fader going out to sortof time-based processing?
What are your thoughts on that?
Tim Benson (Aisle9) (11:05):
yeah, I mean, I, I well, I, I actually
use it quite a lot.
I didn't use to, um, nearly asmuch as I do now.
But like I think you know, sayyou've got you know a synth and
you want to particularly getthat synth sound to sort of you
know really sort of blend rightto the background of a mix.
(11:27):
You know, I mean I think verymuch how you think of mixing in
three dimensions and sort of themore wet something is, the more
it disappears and it sits backin the mix, and the drier it is,
the more up front it is.
So you know, say you wanted tomake that synth feel like it
sits at the back of the mix more.
Yeah, you can just turn up theauxiliary so it's got more
(11:49):
reverb on it.
But you may reach a point wherethat's you know, you've got so
much of the dry signal, you'vegot a kind of 50've got so much
of the dry signal, you've got akind of 50-50 blend, haven't you
of dry signal and wet signalreally in your mix and you might
go well, that's not kind ofreally the blend I want.
I want a much more wet signal.
So if you change that topre-fader, you can definitely
(12:11):
push up the, the pre-fade sendand then take your.
You can reduce your fader, your, your channel fader, down until
the point where you've got muchmore of a wet blend.
You know, and that could be areally good thing.
Um, because you might not wantthe, the sound, to be that loud
(12:32):
in the mix, you might want it tobe sitting quite quietly in the
mix, at which point youwouldn't have if it was going
post fader, you wouldn't haveenough signal to get a really
wet sound on on on the reverb.
So you know, if you want toreally reap a wet sound but like
quite low in the mix, thenpre-fader might be a way to
(12:52):
achieve that.
Marc Matthews (12:52):
That's what I'd suggest it's kind of like really
over emphasizing the wet soundversus the, versus the, the dry
sound.
It's an interesting one that.
So it's not something that I doa massive amount of and I've
never had to actually do it.
But do you ever and I'mthinking off the top of my head
here and I'm thinking, would Ido this, but you do you have a
(13:13):
separate pre and post fadeascend going to the same reverb
to put for?
Because I'm thinking herebecause in a song you might have
this really sort of ambientsection or breakdown and you
really want to emphasize thatwet signal and you could do what
you did what you said there,which is where you're going to
drop out the dry signal andreally and just have that that
sort of reverb.
(13:33):
But throughout the rest of thetrack you might want the reverb
to remain relative to the audioitself and have it in post fader
.
Tim Benson (Aisle9) (13:40):
So in which case, because I think, to
myself, so you could have two,two auxiliary sends one set pre
one set to post, yeah yeah Ihaven't done that either, but
like it's totally logical.
Yeah, I can see a point indoing that?
Yeah, yeah I might.
Marc Matthews (13:53):
I might experiment with that.
It's not something I've evertried doing.
I guess it's because, in allhonesty, I don't really think a
massive amount about panning Notpanning I do about panning,
about pre and post-fader sounds.
I just kind of think, oh,that's the sound I want, I'll do
it, and then it sort ofmaterializes from that.
With regards to that, I'mthinking of synths here and what
(14:17):
.
What I like to do is, when I'vegot multiple sort of synth
sounds going on, I like to haveone sort of main reverb for the
synths and then send them all tothat particular reverb just to
glue and blend them all together.
Do you do something similar ordo you have separate?
What's your workflow with that?
Tim Benson (Aisle9) (14:31):
so you mean , do you send them from the
channels or just sort of blendlike a group of them?
Is that what you're meaning?
Marc Matthews (14:37):
oh, send it from the channels, send it from the
channels themselves.
So, on each reverb, I've gotsorry.
On each synth I've got a sendgoing to us, let's say, air
quotes, synth reverb, and thenjust putting them all in one
space, um, that's what I tend todo do you do?
Tim Benson (Aisle9) (14:54):
I probably tend to do that, although I
sometimes blend.
So I'll have like a shortreverb, long reverb or slightly
different feel of reverb, like aplate in a hall or something
like that, and I may be blendingdifferent elements so like they
may be going to more than onereverb, like within the mix.
(15:16):
You know the same, so you might.
All the synths might haveslightly different blends on
them are often, to be honest,you know, I mean since come a
lot of the vsts now like comewith so much reverb on them that
you spend half your time tryingto take the original ones off,
or blend them in correctly, butum, and that that's um and that
(15:37):
obviously would affect how you,you know um, your your sort of
send routine.
You need to think about thatsometimes, about sort of taking
effects off, so that you've gotmore control in the mix with
these kind of techniques, as wemean, as we're talking, because
if you don't do that you haven'tgot much control in the first
place.
Marc Matthews (15:55):
You know it's interesting you mentioned that
about the effects within a synth, because for the most part,
like you say, the majority ofthem do come with them and it's
something that I generally, uh,just turn off for the most part.
And then I like to see maybesometimes I cut off my nose to
spark my face and doing that andit might actually sound better
with the reverb in it.
(16:16):
But I'm like no, I'm not goingto do that, I'm going to do it
the way I usually do it.
So maybe I need to.
I guess that's the thing.
It goes back to what we saidthere earlier about the use of
multiple sends.
There aren't really any rules.
I guess you could do it as longas it the classic isn't it as
long as?
It sounds good, it is good thatclassic phrase that goes on.
Tim Benson (Aisle9) (16:38):
But another we've touched on there on the
use of time-based processing.
Marc Matthews (16:43):
What about things or processes with regards to
sort of dynamic range control,let's say compression for
example?
And now my workflow with thatis, if I was sending the signal
out to a compressor for a sortof parallel compression, for
example, I would do it pre-fader, because once I've got that set
(17:04):
, I don't want my fadermovements to then affect.
No, you don't want your fadermovements to affect that Exactly
, affect any gain reduction orhow that compressor responds to
the audio?
That's something I tripped up alot on when I first started.
Uh, this way back when, yearsand years ago, until I somebody
said to me, why are you doingthat?
Uh, why are they post fader?
(17:25):
Then I realized, oh yeah,they're not actually doing
anything.
Um, when I, when I moved that,so is that something you do as
well, or do you?
Yeah?
Tim Benson (Aisle9) (17:31):
can you think of a?
Marc Matthews (17:31):
use case where you might do it differently.
Tim Benson (Aisle9) (17:33):
I can't think of one really uh, hmm, boy
, you've got me stumped there Ican't think of one.
No, because I agree, like, ifyou're doing a dynamics thing
like that, then it's parallel.
You, you don't want the yeah,you don't want it to change as
you move the fader, like because, um, well, yeah, I said hmm, I
(17:57):
suppose, well, I don't know, Imean, you don't, yes, this is
tricky, because you don't wantthe amount of send that you're
putting into that dynamicsprocessor, because you're, you
say you're putting the drum busthrough and you're putting,
you're getting a nice parallelcompression on there, then
you're not going to want that tochange depending on where you
set the fader of the drum mix.
(18:17):
But, um, but there again, um,you are going to want the amount
of parallel compression you'reputting back into your mix to
change alongside your overalldrum mix, aren't you?
Marc Matthews (18:33):
yeah, yeah yeah, yeah, so you say you, so you've
got.
Tim Benson (Aisle9) (18:36):
But you'll naturally balance that up by ear
, won't you?
You'll kind of change the drumsand then you'll balance them
down.
So yeah, I know what you mean.
I don't know that there's an100 correct or wrong way to do
that, but I think I would do itthe same way as you where I'd
send it in pre-fader into that.
I mean, I really enjoy the kindof thing of sending to reverbs
(18:59):
on sort of vocals and stuff likepre-fader, because sometimes I
really like that thing of fadingsomething out into the reverb
or into delay as well.
That can be really good.
Another thing, which isn't thepre-postader thing, but I, I I
do really like that was doing ittoday, where I was sending,
(19:19):
like my, my reverb returns backinto a delay.
Marc Matthews (19:24):
So yeah, I do it the other way interestingly.
Yeah, yeah, yeah, but I'm gonnatry it that way yeah, yeah.
Tim Benson (Aisle9) (19:31):
So I mean both are interesting.
So you know, this whole kind ofsignal flow of where you decide
to send something, where youput it in there and and it can
be, can create different things.
And yeah, that whole sort ofthing of like, um, sort of pre
or post, can make it quitedifferent, a different effect,
um.
But it is sometimes nice to befading things out into, into,
(19:54):
like at the end of a song orsomething you maybe want, like,
I mean, I don't know, quiteoften I've had that where I sort
of want to fade everything down, but like the reverb to sort of
stay or something or continueacross.
You know.
Marc Matthews (20:08):
So I really like the idea of that.
Yeah, it's quite nice.
I quite like the idea of I'mthinking with synths in
particular of just everythingfades down, as it were, and then
you're just left with this niceambient synth, this ambient
tail coming on which you then,of course can fade down on the
(20:28):
return, the, on the returnitself.
Tim Benson (Aisle9) (20:30):
So you know , um so so you have got complete
control.
But yeah, you can get adifferent effect than just
fading everything downstraightforwardly yeah, also
with.
Marc Matthews (20:40):
I'm thinking as well with, with pre-faders, with
, with.
It goes back to compression aswell, with side chain
compression ah yeah, would beanother use case for it as well
with pre-fader.
Tim Benson (Aisle9) (20:49):
I can't think of why you would go the
other way again, which wouldmake sense yeah yeah,
sidechaining things yeah yeah,that whole sort of thing of,
yeah, you need the volume, youneed consistent sort of volume.
So, yeah, and that could beuseful.
I've done that.
Um, ah, that's an interestingpoint, I'd not thought of this.
(21:09):
But like, uh, you're right.
Like, for instance, if you'reside chaining off a kick let's
say you're using your kick toside chain, a compressor on your
bass um, uh, then I've done itwhere I've gone, like, say,
there's a period where you don'twant your kick drum in there,
but you still want the sidechaining to be going on then,
(21:31):
you use the pre-fade to besending to the side chain.
So the pre-fade off of the kicksends to the side chain and then
you duck the main volume out ofthe kick drum.
In the mix you automate that soit's not there for eight bars
but the kick is still going viathe pre-fade.
(21:51):
Send to the compressor andyou'll still get the ducking
effect.
Marc Matthews (21:56):
You know, you know what that's.
That's exactly what I do, butI'd never thought of just
ducking the kick drum.
I duplicated the track.
Tim Benson (Aisle9) (22:04):
Ah, yeah, yeah, with the midi or with the
kick drum or the kick drumrecording and just use that as a
sidechain.
Marc Matthews (22:11):
Yeah, yeah, with no stereo output, so there's no
audio coming from it.
Tim Benson (Aisle9) (22:14):
Yeah, I've done the same as well.
Marc Matthews (22:15):
Yeah, yeah, which I suppose.
But when you mentioned it there, I'm thinking why don't I just
automate the fader just to dropat that point?
That would make more sense.
Tim Benson (Aisle9) (22:29):
But again make balls, but again the beauty
of music.
Marc Matthews (22:32):
There's more than one way to more than one way to
do it, but yeah, yeah, yeah,exactly I.
Tim Benson (Aisle9) (22:34):
I think that wraps up our discussion on
on pre and post faders umalthough we haven't really
thought of many good uses forpost pan, there we go.
Marc Matthews (22:41):
No, no when we were discussing the compression
side of things, I was thinkingto myself is that, is there?
Is there a use case there forpost pan, maybe?
If I mean, how would that linkto because I've never done this,
I'm thinking off the top of myhead how would that link to if
you are compressing the left andright channels differently?
Would would that make anydifference?
(23:04):
I'd have to, I'd have toexperiment with it.
Tim Benson (Aisle9) (23:06):
I I think I could be wrong, because I don't
know whether that's post-panand post-fader or not yeah, yeah
, yeah but if it's not, and it'sjust post the pan but not the
fader, so it's pre-fader butpost-pan then that would
actually be exactly how youwould want to potentially send
(23:28):
something to headphones.
Maybe if you were replicating amix in headphones or something
that's the only thing I couldthink of is like, say, you want
to copy the mix you've got topeople's headphones so they can
hear it, but they want to havevolume control.
Marc Matthews (23:41):
That you might send it the other side of the
pan, but you know, yeah, and Irealized I answered my own
question there when I said aboutcompressing the left and right
channel differently, because ifit is post-fader, then that
totally sort of contradicts whatwe were discussing there about
dynamic range control inpre-fader.
So I sort of answered my ownquestion.
Now that I think about it, I'mgoing to pay more attention to
(24:08):
going forward with regards tothe changes just how it sounds
and creating these sends andwhatnot with PostPan, and also
dig into it a bit more in termsof answering our question
whether it's PostFader as well.
No doubt we will get somebodyto turn around and say yes or no
, which will be quite helpful.
So if you're watching this onYouTube, please knock it in the
comments.
Enlighten us.
(24:29):
I'm assuming you've got Postpanand Cubase right, would?
Tim Benson (Aisle9) (24:33):
I be correct.
I'm assuming you're right,which means I don't know.
I will look.
I honestly haven't had a reasonto use it, so obviously pre and
post, but almost certainly, Iwould think, because Cubase is
never short of options like that.
It's just like you know, lifeis short yeah, I was going to
(25:02):
say on that.
Marc Matthews (25:03):
We'll end it on that, on that sort of summary
there of that.
Folks, if you have enjoyed thisand you have a question that
you would like Tim and I toattempt to answer or answer in
one of these episodes, please,as I said right at the beginning
, use that SpeakPipe link, sendus a message.
You don't need an account withSpeakPipe, you don't need a
(25:24):
particular setup.
You can just use your mobilephone like you're sending a
WhatsApp message or whateverother platform you use for your
instant messaging, and you cansend that.
Alternatively, just DM me onInstagram it's probably the
easiest way with your questionand you can get featured on the
podcast.
Tim, it's been a pleasure Untilnext time.
I'll, yeah, hope the leg getsbetter.
(25:46):
I'll speak to you soon.
Popular Podcasts
On Purpose with Jay Shetty
I’m Jay Shetty host of On Purpose the worlds #1 Mental Health podcast and I’m so grateful you found us. I started this podcast 5 years ago to invite you into conversations and workshops that are designed to help make you happier, healthier and more healed. I believe that when you (yes you) feel seen, heard and understood you’re able to deal with relationship struggles, work challenges and life’s ups and downs with more ease and grace. I interview experts, celebrities, thought leaders and athletes so that we can grow our mindset, build better habits and uncover a side of them we’ve never seen before. New episodes every Monday and Friday. Your support means the world to me and I don’t take it for granted — click the follow button and leave a review to help us spread the love with On Purpose. I can’t wait for you to listen to your first or 500th episode!
24/7 News: The Latest
The latest news in 4 minutes updated every hour, every day.
Crime Junkie
Does hearing about a true crime case always leave you scouring the internet for the truth behind the story? Dive into your next mystery with Crime Junkie. Every Monday, join your host Ashley Flowers as she unravels all the details of infamous and underreported true crime cases with her best friend Brit Prawat. From cold cases to missing persons and heroes in our community who seek justice, Crime Junkie is your destination for theories and stories you won’t hear anywhere else. Whether you're a seasoned true crime enthusiast or new to the genre, you'll find yourself on the edge of your seat awaiting a new episode every Monday. If you can never get enough true crime... Congratulations, you’ve found your people. Follow to join a community of Crime Junkies! Crime Junkie is presented by audiochuck Media Company.