Good evening, dear Mixbus community.
I'm very looking forward to your support. Would you please give me a hand to manage to understand HOW an insert/send is set up to a channel strip.
Let's say I have one stereo playback channel (1/2) and want a simple reverb as a return for 1/2 in channel 3/4. The channel fader in 3/4 would function as the send amount.
Thanks for your help ...
Are you sending to a reverb plugin? Just insert the reverb plugin on one of the mixbuses, and then use the 8 knobs in the channelstrips to "send" to that bus.
Or do you want to send to an external reverb? In that case you should create an "insert" on a mixbus, and select the soundcard outs&ins that feed to&from the device. Then "send" to the reverb bus from the channelstrips, just as above.
This video shows basic reverb bussing, near the end:
https://www.youtube.com/watch?v=cuInwhnrtlk
Thanks, Ben.
I got you ... my fault, sorry.
Let's say, 3 kick tracks (not routed to the mix bus) are grouped into a mono channel strip (I call it Sub Bus), which is "parallel processed" with a compressor (as a plugin) via a channel strip and sent to the master bus. KickBus and KickBus SC are now going to the Master Bus.
When I right click on the channel, I then have the option for "Aux Send" which are my Sub Busses and my Side Chains.
I could then apply another "Side Chain" (parallel effect chain) to my sub groups via any of the 12 mix busses.
Right so far?
hmm, this sounds like 2 different questions to me.
When possible, we encourage people to avoid the "DAW" ways of working, and instead use the provided mixer summing engine. This will utilize the mixbus bussing and internal processing, and it will sound better with less effort.
I encourage you to send all 3 kick tracks to a mixbus, and apply your compression there. Also send the 3 kicks directly to the master bus, if you want a parallel dry sound. Those paths will be latency-compensated. You can use the mixbus send knobs to send any or all of the kick sounds to one or more reverbs, on other mixbuses. And finally if you want to apply reverb to the compressed kick bus, you can add a reverb plugin and drag it down below the fader ( post-fader) which is not possible in most other daws. You can also right-click on the reverb and expose the wet/dry control for the reverb, therefore allowing you adjust wet/dry without opening the plugin's UI.
Maybe this pic will give you some ideas:
[Image: parallel-verb-setup.png]
I've had to work with this for a while, Mixbus worfklow is different from the more "modern" approach most people teach on the net.
The way I do parallell compression of tracks is right-clicking on a selection of tracks to duplicate them. I right click on the left side of the graphs in the editor windowm choose "duplicate", then "Share playlists" and OK. Then you get an extra track with an exact duplicate of the track, even if the track changes. Then I make a group of the tracks, the same I would do if I had several mikes on the same instrument, by selecting the tracks, right clicking in the lefmost "group" bar of the editor window and "Create new group from" -> "selection" then make the new group and have the selected tracks added into it. This way, I am coupling things like faders, solo, mute and so on so it works like one instrument, and I route them all to the same mixbus.
Parallel compression on the mixbus is more complicated, but can be done through setting up parallell paths in the routing bar through the pin connections.
Also, as people have mentioned, you can use the "wet/dry" mix on most reverb plugins to mix in the proper amount of reverb. Since reverbs don't hurt from a bit of pre-delay, it isn't so important to have exactly synced tracks either so you can set up a send to utility busses (the kind you get from "add tracks/busses" and choosing "bus") that you put your reverbs on. Just remember, you now have to make your reverb very wet indeed and mix in a tiny bit of that into the mixbus for the tracks you are making a reverb for, because you want to avoid the "slapback delay" from the poor sync of the busses.
And, of course, I'm happy to hear better ideas...
For example: Doing both parallell compression and reverb (on the mixbus) through parallell paths with the pin connections would be lovely, but then the pin connections would need to be easier to work with.
One thing I'd like to see for example: If you try to route several paths to the same input in the pin connections window, don't reject it but automatically set up a small mixer that lets you choose how much of each signal to send. This is useful for both parallell compression on a single track/bus and those reverbs where you can't simply do a dry/wet mix.
(11-18-2016, 04:44 PM)nahoo Wrote: [ -> ]When I right click on the channel, I then have the option for "Aux Send" which are my Sub Busses and my Side Chains.
It's best to avoid using Aux Send. Use an External Send instead as it will give you better routing options and has the Edit Send Gui for setting it's pan. If you want send and return use an Insert.
Only use zero latency plugins on aux busses to avoid timing issues. If the desired effect isn't zero latency I tend to set it up on a mixbus, print it and import into a new track. (sigh just remembered 3.7 broke this workflow!)
http://mixbus.harrisonconsoles.com/forum...-2259.html has further information on the aux send issues.
Actually, the aux sends are useful as a quick way to set up things. The ability to just set up a send from the mixer panel and drag the fader for send volume.
And, I have discovered, my reverb plugins don't create much delay. It's just the invada first reflection delay that tricks me, because it creates some pretty "hard" delays. But if you put it on an aux bus and fade it down somewhat, it lets you you define room dimensions and placement, so it's a very good tool to, along with the panning, define room placement.
The input is mono (or summed stereo), so I set one bus up per instrument, more or less, but I guess it's worth it.
Harrisons Gverb+ is also a surprisingly nice and versatile room reverb, so I put that after, and/or Overtonedsp plate reverb to add shine. And that's my reverb kit for the time being, which I think works nicely on the aux bus.
The Overtonedsp compressors are also a nice addition, for further "old-school" analog sound and for more precise control of things. Harrison has gone down a road of simplification of their tools, which can be nice sometimes but also can be a pain in the butt if you want more precise control of things. (I'll buy myself the u-he Presswerk one day, too.)
Even when learning, you want precise control for a while, just to try things out and have "been there done that", so you can then go for the faster options and know what they do.