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Can someone translate this for me please. PT Le bus routing
Old 8th June 2006
  #1
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pingu's Avatar
 
🎧 15 years
Can someone translate this for me please. PT Le bus routing

Quote:
when i am mixing ITB, i find that that bounce to disk does not sound as good as recording audio
so create a stereo aux and a stereo audio track
i then take and designate a stereo buss for my stereo buss and assign all outputs to that buss, then i assign the input of my aux, that buss
then i designate another buss as my main buss to the audio track
then i put the audio track on input and listen through that track to my outputs 1 and 2
when ready i press record and voila
if i need compression it goes on the main aux
this is because the aux insert is prefader where a master fader insert is post fader
so if you have an insert on a master fader, the fade loses the compression ...

I got this from another thread,

Ross Hogarth



Could some one please explain the routing of this so a 5 year old brain such as mine can understand please, id much appreciate it.




Cheers
Old 8th June 2006
  #2
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max cooper's Avatar
 
🎧 15 years
I've set a session up the way I mix down.


The track labeled "main aux" has bus 1-2 assigned to the input.

Make sure all your tracks ultimately end up there, whether they go thru another bus to get there (in the case of putting one compressor across all your drums or something).

the output of the "main aux" track is assigned to bus 3-4. This is how the stereo mix, which all comes together at the "main aux" gets to the stereo audio track, which is it's final resting place. The stereo audio track should not go to bus 1-2 as that will feed your 2-mix back into the open tracks.

Then on your stereo audio track, make bus 3-4 the input. This gets the summed mix onto the stereo track. The output of the stereo mix track, in this case, is ADAT 1-2 since it's going to the apogee. If you're going out of the 002 converter or whatever, it's gonna be analog 1-2.

Does that help?

Maybe try setting it up just like I've done here.
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Old 8th June 2006 | Show parent
  #3
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Kestral's Avatar
 
🎧 15 years
Is there a reason why this is done instead of just using the standard bounce function in Pro Tools LE?
Old 8th June 2006 | Show parent
  #4
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pingu's Avatar
 
🎧 15 years
Quote:
Originally Posted by max cooper
I've set a session up the way I mix down.


The track labeled "main aux" has bus 1-2 assigned to the input.

Make sure all your tracks ultimately end up there, whether they go thru another bus to get there (in the case of putting one compressor across all your drums or something).

the output of the "main aux" track is assigned to bus 3-4. This is how the stereo mix, which all comes together at the "main aux" gets to the stereo audio track, which is it's final resting place. The stereo audio track should not go to bus 1-2 as that will feed your 2-mix back into the open tracks.

Then on your stereo audio track, make bus 3-4 the input. This gets the summed mix onto the stereo track. The output of the stereo mix track, in this case, is ADAT 1-2 since it's going to the apogee. If you're going out of the 002 converter or whatever, it's gonna be analog 1-2.

Does that help?

Maybe try setting it up just like I've done here.


Thanks max, your a champ.


Do you have to record enable the audio track to hear the output?


By doing this, would you say when you press record you are getting what you hear?
Old 8th June 2006 | Show parent
  #5
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pingu's Avatar
 
🎧 15 years
Quote:
Originally Posted by Kestral
Is there a reason why this is done instead of just using the standard bounce function in Pro Tools LE?


Its a can of worms, but it has to do with guys like me believing the real time playback of a mix sounds different than BTD.
Old 9th June 2006 | Show parent
  #6
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Marbarbaar's Avatar
 
🎧 15 years
Quote:
Originally Posted by pingu
Its a can of worms, but it has to do with guys like me believing the real time playback of a mix sounds different than BTD.
I'm at this stage too.
All the time wondering if it's me or something else....
Old 9th June 2006 | Show parent
  #7
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Dysanfel's Avatar
 
4 Reviews written
🎧 15 years
Quote:
Originally Posted by pingu
Its a can of worms, but it has to do with guys like me believing the real time playback of a mix sounds different than BTD.
I will have to check this out.
Old 9th June 2006 | Show parent
  #8
Lives for gear
 
🎧 15 years
I just want to make sure I understand the original post. The quote is saying he does this so as not to effect the input of dynamics that are on the master fader. Does that mean this exercise would be moot if you don't ride the master fader and leave it on unity?
Old 9th June 2006 | Show parent
  #9
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max cooper's Avatar
 
🎧 15 years
Quote:
Originally Posted by pingu
Thanks max, your a champ.


Do you have to record enable the audio track to hear the output?


By doing this, would you say when you press record you are getting what you hear?
Yes. The rub is that if you record-arm the audio track and press play, you won't hear the mix thru the audio track. The transport has to be in "record".

Are you getting what you hear, or are you hearing what you get?

Yeah, just remember that it's possible to have the mix come up in more than one place (because you can essentially set up parallel mix busses) and in the past I've accidentally been listening to the mix times two at one time.
Old 10th June 2006 | Show parent
  #10
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Improv's Avatar
 
🎧 15 years
Quote:
Originally Posted by Kestral
Is there a reason why this is done instead of just using the standard bounce function in Pro Tools LE?

There are many.

For example, I always buss all tracks to Bus 1-2, have a Master Fader set to Bus 1-2, and have a "Listen" audio track, input set to Bus 1-2, Output set to my monitor outs. During tracking, this "listen" track is often armed, recording a ref as a take is cut, but if not it's at least set for input monitor (or else I wouldn't hear anything!) When I'm done tracking, I arm my listen track and drop a reference mix. If the client comes back tomorrow and wants to change one phrase on a vocal and get a new ref, I do the edit, punch into my reference mix, Apple-F to crossfade and consolidate to a new ref. Saves a lot of time.

Also, using playlists, you can keep a record of changes and reference mixes. Timestamping and Date Created metadata can be invaluable in trying to figure out what you were doing a couple weeks ago.

Here's a fun one... client sings 8 vocal takes and wants refs of all of them. I'll highlight all tracks EXCEPT the vocal, and Shift-Control-select outputs Bus 1-2, Bus 3-4, Bus 5-6.... etc, as many as I need reference mixes. This mults the "backing tracks" mix to a bunch of busses. Then I'll duplicate my master fader and "listen" tracks as many times as I need ref mixes. I'll set each master fader to Bus 1-2, Bus 3-4, Bus 5-6, etc. and the inputs of each record track accordingly (if you're not doing any Master Bus FX, then you don't need to worry about master faders at all really)

Then just select all the vocal takes (laid out on seperate tracks) and Shift-Option-Command select the first output to Bus 1-2 and you'll be able to drop as many discreet reference mixes as your computer can handle. On our HD system, I've done up to 12 at once with a heavy mix going. It takes a few minutes to set it up (especially the first time) but it can save literally hours. Lots of fun.
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