Bussed Effects
Lesson 14 from: Music Production in Logic Pro X: Vocal Mixing EssentialsTomas George
Bussed Effects
Lesson 14 from: Music Production in Logic Pro X: Vocal Mixing EssentialsTomas George
Lesson Info
14. Bussed Effects
Lessons
Introduction and Welcome to this Class
00:52 2Project Organization
09:47 3Faders and Panning
11:13 4Flex Pitch - Vocals
05:18 5Flex Time - Vocals
03:05 6Editing Studio Drums
09:29 7Song Mix Deconstruct - Mixing Drum Kit Designer
08:04 8Mixing Files
01:50Tips to Start a Mix
02:11 10Mixing vs Mastering
02:19 11Introduction to Mixing with Logic Pro's Audio Effects
00:47 12Channel Strip and Routing - Part 1
04:39 13Channel Strip - Part 2
07:00 14Bussed Effects
11:25 15Gain Staging Audio Tracks and Pre Fader Metering
11:44 16Gain Staging Software Tracks
03:45 17Mixing with Channel EQ
19:57 18Mixing Vocals with Compressor - Part 1
08:25 19Mixing Vocals with Compressor - Part 2
06:44 20Compressor Circuit Types
13:07 21Compression - Distortion and Limiting
10:47 22Sidechain Compression
06:37 23Compression - Part 5 (Glue)
02:52 24DeEsser
12:03 25Multipressor - Part 1
09:31 26Multipressor - Part 2 (DeEss)
06:11 27Multipressor - Expander
07:33 28Dynamics Wrap up
09:05 29Compression with Flex Pitch
04:49 30Exciter
05:03 31Noise Gate
04:14 32Noise Gate - AHR
07:16 33Noise Gate - Hysteresis
02:07 34Chorus
06:04 35Introduction to Automation
09:44 36Touch Automation
03:46 37Trim-Touch Automation
05:28 38Relative Touch Automation
04:34 39Automation Curve Tool
04:09 40SilverVerb - Part 1
18:11 41SilverVerb Modulation
02:57 42Sample Delay and HAAS Effect
05:29 43Delay - Echo
09:35 44Stereo Delay - Part 1
14:25 45Stereo Delay - Part 2
04:00 46Stereo Delay - Part 3
08:24 47Tape Delay - Part 1
13:29 48Tape Delay - Part 2
05:07 49Thanks and Bye
00:07Lesson Info
Bussed Effects
Hi. In this video, I'm going to explain how to use sends and some case examples of why we might use them. So, as you can see here, Thomas had already set up some sends before I continued the mix. But what I'm actually gonna do is show you how to set one up and why you might use it. So, one of the most common uses for send is Reverb and why that is, is because it's quite common. It's quite often that we might want to use the same or similar reverb on multiple tracks in our mix. So without sends, we'd have to use Reverb on different tracks, possibly copy and paste the settings and adjust slightly. But that doesn't really make sense and it doesn't really help us mix the refurb in the mix. So I could use a reverb here at the end of my chain just load a reverb. OK. And I could adjust the dry and wet mix, I can adjust many of the other parameters in this reverb, but this reverb only applies to this vocal track. But what if I wanna use it in other ones? Well, first of all, I gotta copy and pa...
ste it. Second of all, that's a lot of processing reverb is a lot of maths so it can be really hungry on your computer's resources. So the alternative is to instead of using it on a track, it's to use it on a send. So first of all, I should explain how a send works. So when I'm using Ascend, let's say I use Ascend and I'm sending it to bus 21. OK. What's happening is that I'm actually sending a copy or a parallel signal of this channel strip to another bus. Whilst this bus still goes out to stereo out or the bus that I've already set it up to go to a copy of it goes to another bus. So if I click here, for example, and got a bus and go to bus I've now created a send of this channel to bus right now. It's not sending anything to bus 21 because this dial isn't set to anything larger than minus infinity. But as I increase it, I'm sending some amount of this signal. In this case, the same amount minus 10 DB to this bus here. See it's bus 21 on the top there as an input of this auxiliary channel strip is the one I'll be using my refurb on. So what I'm gonna do is actually just double click where it says AUX and just call it reverb. So I'm sending some amount of this signal to that bus. The same amount as before is still going out to bus 20 or the stereo out wherever it goes to. But I'm also sending some to this other bus here. What that means is that I can load a reverb on this bus. So I just go to reverb, just go to silver verb, it doesn't matter what reverb I'm using at this point. And then I set the wet and dry mix to 100% wet because I'm gonna control the mix of the reverb via the fader on the bus. So just close that for a moment and let's have a listen if it's the moment of f Yeah. OK. So I'm hearing the vocal but it's also very reverberant. I'm very much hearing the reverb now, which is great. So what I do is I just click on where it says bus 21 just so that I can see this channel strip again. So just a little tip about that. Actually, if I click here, for example, the output bus, it shows me that bus next to it or if I just click on that bus or that bus, it shows me the respective bus to the right hand side of the channel strip. These buses also appear in my mixer. So if I open the mixer, now I should be able to navigate to my reverb bus, which I created here. And the cool thing about that is I now have a fader just for my reverb face, the face. The so as you could hear as I moved, that fader was changing the relative level of the reverb. If I go back to my channel trip, now I'm actually gonna turn up the amount that I send to zero, which means that the full amount of this signal basically is being sent to that bus. The yeah, which just gives me a bit more flexibility in terms of this fader here. F another benefit of bussing and effects like reverb is that I can just follow it or I can mute it whenever I want if it's the moment, which is something I do very often with bust reverb because sometimes you forget what the reverb sounds like until it's off. So I just toggle the mute just so I know how the reverb is actually affecting the placement of the vocal in the mix. F Yeah. So even in this example where you can't actually hear much reverb, you can hear the difference that it has on the general body of the sound when you do mute it and unmute it face. Yeah. And also if I just want to sort of reintroduce the reverb into the mix or just adjust its relative level in the mix, I could just pull down the fader and slowly push it into the mix face. Yeah. Face the moment. So that's how we use sends for bus effects such as reverb, another thing to consider when you are creating sends. So let's go back to the channel strip here is if we click and hold on this send, now we actually have a few options in terms of what you're actually sending to the bus. So right now it's post pan, which means that the signal after the audio effects and after the panning is sent to the bus, which is what we expected, which is the normal behavior. However, if I switch it to Post Vader and panned the lead vocal track to the left and now solo, the refurb, do you hear how the vocal that was sent to the river bus wasn't panned left because when I'm in post fader mode, it ignores my pan setting effectively. But if I go back to post pan and again with the rever bus on solo, you hear how now it's panned because when we were in this mode here, post pan, it takes into account the pan setting that I made for that track, the signal gets sent after the pan in the signal flow. However, if I use pre FDA, the amount of signal that I send to the bus is independent of the fader move that I make on the channel strip. So if I turn down the fader, the actual fader of the vocal track, it still sends this amount of signal to the bus. So this dial here actually becomes an absolute amount. Whereas when I'm on post pan or post fader, the amount that gets sent is relative to the fader. So with the fader all the way down and the setting on post fade or post pan, nothing gets sent to the bus because it gets sent after fader, which in this case is nothing. So another benefit of using a bust effect or an effect on a bus like reverb like I've done here via as send is that if I want to send some of this channel to that same reverb, that's easy. I don't need to load another reverb. I can just go to the send, go to bus and go to Reverb and just send some amount of this track to that reverb bus. OK? Just pull up the f on my vocal track here in the OK. So the difference might not be obvious right now. But if I solo the rever bus or my mixer, you can actually hear that some of that instrumental track is now in the reefer mix. So that's how we use sends for bust effects such as Reverb in logic pro. Thanks for watching and I'll see you in the next video.
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