So, on a mix, a mono vocal track, stereo drum overheads, DI Bass, live Bass, and everything else, are all routed to the 2-bus. The 2-bus is the link to the real world of two-channel, home hi-fi, earbuds, car audio and other listening environments. The term 2-bus is commonplace online and in books, but it is also widely known using other terminology. The 2-bus processing originated from the two channels that are output from an analogue mixing desk. The final mix processing step provides essential fine-tuning before being passed on to the Mastering Engineer.
In more recent times, the 2-bus concept has found itself at home in the digital world. Although Digital Audio Workstations DAWs allow an unlimited number of buses to be created within a project, workflow still tends to mimic the analogue world. In reality, this is very logical, as music today is consumed mostly in stereo. The term ' Bus ' in modern digital mixing is borrowed from the analogue world.
A bus is the electrical industry's term for wires or conductors that carry voltage along similar paths. The beauty of the 2-bus is that it focuses on final mix processing, allowing all the tracks to be treated simultaneously. The tracks are no longer a set of separately recorded instruments, but a coherent song. We will talk about that more later.
If you love the blog, wait till you see the stuff I'm sharing with my newsletter subscribers. Enter your email address below to join my newsletter. Lorem ipsum dolor sit amet consectetur adipisicing elit. Let's kick things off by looking at what a bus, and a send, is.
What is Bus Routing? Let me explain It's a little bit hard to keep control of all these different instruments. But if you create an auxiliary channel and you put all the drums there What to Put on a Mix Bus The simple answer—apply the bus for everything.
In other words, you shouldn't leave anything out. In fact, you for something like the drums, you can have a bus just for the kick drums. The more you use buses, the more control you'll have over your final sound. What is a Mix Bus? A bus is simply a way to move an audio signal from point A to point B. What is an Aux-Send? The input, for instance, can be "sent" to a certain bus, say, bus 1. Aux is short for auxillary. Why is auxillary?
That send will go directly into the auxiliary track. There's usually a dial for selecting how much of the audio signal is to be sent. Are buses used just to send audio signals to an auxiliary track? The main thing to understand about routing signals and using buses is how your send is set up. You have three main options in modern DAWs. Pre fader Post fader Post pan Logic Pro does a good job of differentiating the three modes for you visually using a menu option so at a glance you know how each send is set up to the individual buses that you're routing to.
Pre Fader Pre fader mode means that you are sending an audio signal from a track to a bus before the fader. Save my name, email, and website in this browser for the next time I comment. Contact Info Address: st. Home » Blog » What is a Mix Bus? Usage, Routing, Big Tips and Chains! September 17, Related Articles. We will be happy to hear your thoughts.
Leave a reply Cancel reply. About Mixing Tips. For customers. Compare items. Total 0. Shopping cart. EQ can be used to tame overpowering elements, like boomy kick drums. Or enhance pleasing elements, like shiny cymbals. Just remember, small EQ moves make a big difference on the Mix Bus. If you need to make any surgical changes, address the issue on the individual track.
Try using a low shelf to boost the bass for a little extra oomph and a high-pass filter to remove unwanted subs. Cutting any mud around Hz, or boxiness around Hz is often best done with a dynamic EQ. We've got a complete guide to that here. Add a little sparkle to your tracks with a high shelf boost around kHz. It helps maintain consistent levels, prevent peaking, and increase excitement. The key to mix bus compression is subtlety.
Try a ratio of to gently compress your mix as a whole and softly squeeze the instruments together. Use a slow attack time around 30 ms and a fast release time less than 50 ms for maximum transparency.
Try not to apply more than 2 dB of compression. Any more than that and you run the risk of changing the dynamic balance of the track. Compressors with side-chain filters work well because they ignore low-end frequencies that are likely to dive-bomb the meter.
0コメント