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RealBand
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Joined: Oct 2010
Posts: 184
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OP
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Joined: Oct 2010
Posts: 184 |
RB has mixer and audio effects. In order to produce a demo what steps should I take.
There are mixer and audio available. Basically I hava several paths to manipulate the
tracks.
1. Use audio effects and then RB mixer.
If show what audio effects to use before and what effects to use after with mixer
PG Ten Band EQ
PG Reverb
PG Chorus
PG Dynamics
By processing audio tracks they are changed permanently.
Thank you for your time
B
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RealBand
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There are a number of differing views on the order in which to process DX Effects - I tend to use PG Ten Band, PG Dynamics, PG Reverb/Chorus/Distortion etc for each audio track. In the final output channel I use PG Ten Band, PG RTA, Triple Comp, PG Peak Limit. None of these effects, permanently change the Aucio data and can be tested and changed on the fly.
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RealBand
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Joined: Oct 2010
Posts: 184
Apprentice
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OP
Apprentice
Joined: Oct 2010
Posts: 184 |
Thank you for info and comment on my question. However, I was a little bit unclear in my question.
What i meant was
1. Use audio effects first and RB mixer afterwards.
What would be your choise for audio effects in Tracks window and what effects to us in the final mixer window?
By processing audio tracks in Tracks windows changes tracks.
2. Use audio effects only
By processing audio tracks they are changed.
3. Use RB mixer only
4. Use AUX busses
Novice like me might process all EQ changes in Tracks window before and finally Reverb/Chorus/Dynamics in the RB mixer window.
Thank you for your time
B
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RealBand
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Joined: May 2003
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Don't make anything permanent IF your computer can handle the load.
1. Dynamics processors as channel inserts
2. effects processors as Global use the AUX sends and returns.
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RealBand
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Joined: Aug 2006
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My basic setup is one reverb and one compressor each in it's own aux channel. Dial in each track to these as needed. One 10 band EQ followed by a peak limiter on the main output channel. I will pop a spectrum analyzer in between the 10 band and the Peak limiter to guide my use of the 10 band, getting a solid balance between the frequencies. Don't just rely on the analyzer, trust your ears.
From there if a individual track need something, like a vocal that is to heavy with bass, add an EQ and setup a high pass to clean up the mud. each track gets a look, and proper panning.
HP Win 11 12 gig ram, Mac mini Sonoma with 16 gig of ram, BiaB/RB 2026, Reaper 7, Harrison Mixbus 11 , Presonus Audiobox USB96
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RealBand
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Robh,
DO NOT put dynamics processors into an AUX
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RealBand
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Joined: Oct 2010
Posts: 184
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Posts: 184 |
Thank you for very good answers to my question.
Just wonder what is the use of output AUX A1,A2,A3,...,A16.
Who needs more than one output?
Or is this just for mixture of final output mixing effects.
What is the use of subgroups?
Mixer Tracks ==> AUX1 TO A1 ==> AUX A1 Output
AUX 1,2,3,...,8 x 8
AUX A1,A2,A3,...A16 x 16 (output)
Thank you for your time
B
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RealBand
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Joined: May 2000
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The path is Mixer Tracks ->Main Out AND Mixer Tracks -> AUX -> Main out
The AUX is ADDED to the mixer track out (into the main out), which is why John said don't use compression in AUX. This way if a reverb is used in an AUX slot the effected signal (with reverb) is added to the dry signal from the track. For this reason one good tip is to set any effect in an AUX slot to 100% wet (or processed) so you aren't adding more dry signal along with the processed signal. In most reverb FX you'll see a wet/dry ratio which should be all wet when used in the AUX position. Using a compressor in AUX means the compressed signal is added to the dry, which (in theory) is not what you are after usually.
The many AUX's are there for various effects. One may want a reverb in AUX1 and then send the varying amount of track signal to it to get the desired amount of reverb. Then possibly AUX2 may contain an enhancer or exciter that can also have a varying amount of signal desired. Then in AUX3 maybe a second reverb or delay for certain tracks you want a special effect for, etc.
The subgroups have to be enabled in Audio options (which eliminates multiple outs by the way). Then you can use these like the submix on a mixer; for instance you can set the levels and effects of all the different drums in a drum set (if available) in the mixer so the drumset is balanced with itself. Then send all the drum tracks to SubGroup 2 so you can boost/cut the volume of the whole set with one slider (or add effects to that subgroup also all at once). These subgroups also get routed to the main out in the long run.
Using multiple outputs can be handy for certain monitoring applications when recording. Here I have one output that sends to a headphone distribution amp, another that sends to one set of monitors, another to a different set.. it makes changing the listening options convenient; no switching cords or changing switches as a couple clicks gets me what I want. Record a track using the headphones, then listen back with monitors quickly. Note that you need multiple output ports to use this. It can be two separate devices or a device with multiple audio outputs.
Last edited by rharv; 11/11/11 10:39 AM.
I do not work here, but the benefits are still awesome
Make your sound your own!
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RealBand
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Joined: May 2000
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That last post got long.
I usually EQ and compress tracks individually (track FX), along with any other track specific FX like an amp simulator.
I *try* to use the reverb in the AUX slot to save resources but sometimes a track gets it's own reverb or a second AUX is used.
Then in main outs an analyzer and some type of Limiter (simply for protection, not effect) is used during the mixdown.
After the initial mixdown I'll open the new wave file as it's own project, edit the begin/end points and set the mastering FX up in the main out FX slots. Usually Ozone first, an analyzer, then a good metering plugin that gives various readouts on signal strength. When I'm happy I merge it down.
Then I go back another day and listen to see what I need to fix. For this reason I get a lot of use out of the "Save Group' function in the FX slots area. This is handy for mastering, and for vocal tracks too (when mixing) That way when I get a vocalist sounding decent on one song on the CD, I can open those same effects on the next song as a starting point; helps with consistency on a signature vocal sound. I don't just 'accept' it, but it's often a handy starting point as opposed to setting up new effects all the time.
Last edited by rharv; 11/11/11 10:40 AM.
I do not work here, but the benefits are still awesome
Make your sound your own!
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RealBand
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Joined: Aug 2006
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John conventionally i agree, but in one DAW i have, the compressor works very well in the Aux buss, and i have had great success with it, especially on the more transparent setting.
HP Win 11 12 gig ram, Mac mini Sonoma with 16 gig of ram, BiaB/RB 2026, Reaper 7, Harrison Mixbus 11 , Presonus Audiobox USB96
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RealBand
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Joined: May 2003
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Quote:
John conventionally i agree, but in one DAW i have, the compressor works very well in the Aux buss, and i have had great success with it, especially on the more transparent setting.
Nothing is set in stone and rules certainly can be broken however for a new person getting familiar with mixing it's best to present the rules and stick to them until he/she is a pro at this. 
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RealBand
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Joined: Jan 2003
Posts: 5,163
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BG,
There are "Track Categories" that will "set up" some DX FX for certain instruments. I start with the basic category, then open the mixer and adjust to taste. Once I have everything where I like it, I render the song to a final wave file. Some will take their mixed wave file and re-load it to add some mastering effects. I am usually happy with a final mix once I have adjusted the categories to my liking.
Trax
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RealBand
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Let's see if I can get some fur flying with this statement.
When using a DAW there's no such thing as "mastering" just one song.
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RealBand
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Joined: May 2000
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Singles have been released this way, so it's not a concrete statement. Just to toss some fur around
I do not work here, but the benefits are still awesome
Make your sound your own!
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