[ddots-l] Re: routing effects


Great job!
I'll save this one for future reference.
Thanks.

At 11:21 PM 5/26/2009 +0100, you wrote:
>   Hi   Oh god, I now actually understand buses and how to  set them up.  
>thanks for that explanation, very very  useful.   Cheers Darren    -----
>Original Message -----    From:    Bryan Smart    To: ddots-l@xxxxxxxxxxxxx
>   Sent: Tuesday, May 26, 2009 11:05  PM   Subject: [ddots-l] Re: routing  
> effects   
>      Hi    Steve.       Buses    have two common purposes: for summing
>several tracks together in order to    create sub-mixes, and for sharing
>effects.       First,    though it isn?t recommended, you can live in a
>world where you don?t even    concern yourself with buses. In this case,
>you set the output control of your    tracks to hardware outputs on your
>audio interface. When you?re setup this    way, audio goes directly from
>the individual tracks to the hardware outputs.    However, most people
>don?t work this way, since there is no way to meter the    entire mix, and
>there is certainly no way to easily apply mastering type    effects.      
>Most    people use, at minimum, a master bus. When you work in this way,
>you have a    single bus who?s output control is set to one of your
>hardware output ports,    and all of your tracks have their output controls
>set to the master bus. This    means that the audio from all of the tracks
>is combined on the audio bus, and    that combined signal continues to your
>hardware ports. When you work in this    way, you can view the master bus?s
>meter to evaluate the signal strength of    the entire mix. You can also
>use eq and compression on just the master bus and    effect the entire mix
>at once. On an analog console, this is identical to how    all of the
>channel strips are summed at the master    outputs.       You    can add
>additional buses to use as sub-mixes. For example, you can create   
>another bus to use for a drums sub-mix. The drums sub-mix bus would have
>its    output set to the master bus, and all of the tracks where drums were
>recorded    would have their output set to the drums bus.       You    can
>go way overboard with this if you aren?t careful. For example, the drum   
>tracks might feed a drums sub-mix bus, which feeds in to a music sub-mix,  
> which feeds a master bus. That?s way too much to worry about in a small   
>project, but it makes it easier to organize very large projects with dozens
>of    tracks.       The    other way that you can use buses is for sharing
>effects. Sometimes, when a bus    is used in this way, people call it an
>effects bus, an auxiliary (AUX) send,    or an effects loop, but they?re
>all the same thing. This is just like the AUX    or effects loop on an
>analog mixer. You create these buses the exact same way,    but the
>difference regards how you choose to send audio to them. When you?re   
>using a bus to sum tracks together, you set the output control of the
>tracks    to that summing bus to make a sub-mix. However, when you?re using
>a bus for    sharing effects, you add an auxiliary send control to a track,
>and use that    auxiliary send connection to get audio to the bus. The
>track?s output control    could still send the main signal from the track
>to the master bus or another    bus to make a sub-mix, but the auxiliary
>send control allows you to also send    the signal from the track to a
>secondary location.       Here    is a practical example that uses
>everything above. Suppose that you?ve    recorded a small combo (drums,
>bass, guitar, and piano) either dry, or else    you?ve generated dry
>versions of all of these instruments from softsynths.    Since you recorded
>them dry, they?re clean, but you?d like to mix them to    sound like
>they?re in a room.       First,    you mix the drums. You used a few mics
>to record the drums, and so have those    recorded to separate tracks.
>First, you create a new bus that you call ?drum    mix?, and you set the
>output control of all the drum tracks to the ?drum mix?    bus. Now, you
>adjust the levels of the different drum tracks until you get    them
>balanced the way that you?d like. From now on, you can turn up and down   
>the volume on the drum mix bus to raise or lower the over-all level of the 
>  drums without messing up the relative balance that you worked out between
>the    individual drum tracks.       Now,    you?d like to add a little bit
>of room ambience to the instruments so that    they don?t sound so dry and
>isolated. To do this, you add a new bus and call    it ?reverb?. In the
>effects bin of the reverb bus, you insert a reverb effect,    and set it to
>a nice room preset that you like.       Now,    you have a reverb effect,
>but you need to get signal from your instrument    tracks to that reverb.
>To do this, you go to each of the tracks that you?d    like to be able to
>send signal to the reverb, perform a route Jaws to PC    cursor command
>JawsKey+-, select the Insert Send sub-menu, and select your    reverb bus.
>Now Sonar will add a few additional controls to the end of the    track
>strip. You can quickly jump to those with shift+x. These controls   
>basically give you a direct connection from the track to the bus with the  
> reverb effect. You?ll notice that one of them is a volume control, and so
>you    can use that to adjust how much signal is sent to the bus with the
>reverb    effect. No matter how much you turn up or down the volume for the
>send, the    track?s audio still continue to the master bus of the mix, and
>so you still    can hear it, but increasing the level for the send causes
>Sonar to also send    signal to the bus where the reverb effect is located.
>So, in this way, several    tracks can all send signal to the same bus
>where the reverb is inserted.    Particularly with a conventional reverb
>(where you?re trying to simulate a    room), sharing the reverb in this way
>is a good idea. Instead of placing    several identical reverb effects on
>many tracks, all of your tracks can send    their signal to a single
>reverb. This method has the added advantage that, if    you?d like to try a
>different sounding room, and change the preset of the    reverb effect on
>the reverb bus, then you?ll change the reverb that you hear    for all of
>your tracks. By comparison, if you used an individual reverb effect    on
>each track, then you?d need to manually adjust each of the individual   
>reverb effects. Sometimes you?ll need separate reverbs for separate   
>instruments if you?re attempting a special effect, but, in many cases, this
>   method of working is best.       Hope    that this info helps you
>understand the big picture of how buses work in    Sonar.       Bryan      
>          From:    ddots-l-bounce@xxxxxxxxxxxxx
>[mailto:ddots-l-bounce@xxxxxxxxxxxxx] On    Behalf Of Steve Wicketts
>Sent: Friday, May 22, 2009 7:14    AM
>To: ddots-l@xxxxxxxxxxxxx
>Subject: [ddots-l] Re:    routing effects          Hi    All,             I
>mentioned on an    earlier email about routing effects, I forgot to put I'm
>using Sonar 7 encase    there maybe differences on the newer systems.      
>      Just to recap, I    understand how to rout effects through hardware
>mixers and effects units.          The problem I'm    having is thinking
>virtual, I can't seem to quite get my head around this, I'm    not managing
>to understand the help files on this one.
> how to assign effects to them and finally
>how to send the    chosen tracks through them.             It would be very
>   much appreciated.                           www.jerryleelewis.co.uk     
>       ----- Original      Message -----           From: Darren H          
>     To: ddots-l@xxxxxxxxxxxxx                Sent: Friday, May 22,     
>2009 7:02 AM          Subject: [ddots-l] Re:      routing effects          
>          Hi      Steve.                     don't beat      yourself up
>about this one because I can't get my head around it either,      even with
>the great help files.                       then      going to the bus pain
>and setting the effect in the corresponding auxe      track.               
>     but, that's just      me barking, whether I'm up the right tree or not
>is another matter      entirely.                     Cheers          Darren
>                             ----- Original        Message -----           
>   From: Steve Wicketts                      To: ddtots                    
> Sent: Thursday, May        21, 2009 11:56 PM              Subject:
>[ddots-l]        routing effects                             Hi        All,
>                            I've been        adding effects to my project
>by using the application        key.              I'm aware it's       
>easier on the system if you apply effects to a bus then send the tracks    
>   through the bus.                             I do this all        the
>time with hardwhere , I use a Fostex 12 into 8 into two mixer with       
>external effects.              The problem I'm        having is thinking
>virtual, I can't seem to quite get my head around this,        I'm not
>being able to understand the help files on this        one.                
>             know        it's a pain but please could one of you guys send
>me an simple step by        step on how to set up the busses and how to
>assign effects to them and        finally how to send the chosen tracks
>through        them.                             I know I must        seem
>a pain, it's just it's all still quite knew to        me.                  
>          Steve        W              
>www.jerryleelewis.co.uk
>
>
> 
PLEASE READ THIS FOOTER AT LEAST ONCE!
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