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Ultimate Producer. Future Audio Workshop. United Plugins. Black Salt Audio. GForce Software. For example, I always tend to compress the drums together to get the most energy out of them. Therefore, I have to route all of them to a bus group. Having that group from the beginning is perfect for me.
The bus routings are on the second page of the buses, so your primary bus names can stay the same. You can see it below:. Set the bus groups from the beginning of a mix project, and delete the unnecessary ones. So this is why I put a VCA type compressor on the drum bus group. You can always tweak it to your liking, and I encourage you to do so because every song is different.
But if you want energetic drums, this compressor will help you a lot. Sometimes I want a big, powerful sound from drums. When I want that, I use the Drum Crush bus. It compresses the signal to hell and adds some distortion to make it even more powerful. I put there a compressor and an overdrive plugin, but you can always use its variations. For example, if you have something like a tape machine, you can add it with your favorite settings on every bus group, so you can always reach them with just a click.
Then, you can start mixing with those plugins bypassed, and you can open them when you need. There is a stereo out bus; why would I use a mix bus? Good question. I use it for a couple of reasons. Sometimes I need to send the whole mix to another bus group to parallel process it, or I can put some weird effects on it and dial with the mix.
So you can do that with the Mix Bus group. Also, I always use a monitoring plugin on my stereo bus, which decreases the volume. I always keep an eye on my mix bus, and I put my limiter on the stereo out when I need it. So, the groups work like this: the channels routes to bus groups, and the bus groups routes to mix bus.
Then the mix bus goes to stereo out. I realized that I almost always tend to use a compressor on my mix bus to get the most energy from the mix, so I put a compressor on the mixing template. You have to listen to the song and dial the settings of the compressor to your likings. The best way to do this is to take the threshold all the way down to where it compresses around dB. And change the attack and release parameters there. When you find the best settings for your mix, take the threshold back.
There is no rule for that, but around 3 to 4 dB will be nice. I also use the mix knob, so if you use it like how it is, you will do parallel compression.
And we came to the fun part, the effects! I have too many buses ready for most of the situations. Those effects are enough to give me what I need quickly, but I always edit them later. Details always come later in the mix for me. This Logic Pro mixing template lets me do this easily. We have small, medium, plate, long, big, and a massive reverb on the mixing template.
Every one of them has a different pre-delay and decay time. Small and medium are room reverbs; long and big are hall reverbs. It has a different character, and I mainly use it on guitars and the percussive sounds. When I want to replicate a room, I use the small reverb. When I want to take everything in similar places, I use medium reverb. When I want to use the reverb as an effect, I tend to use long, big, and massive ones.
But you can always edit or put an EQ after them. We have a half note, quarter note, eighth note, and a slap delay.
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