Each channel can be panned across the two subgroups, while the subgroups are panned completely left and right into the master output bus. Home : Audio : Mixers : Subgroups. Meter plugins could be inserted as the last plugins on your master fader, but placing them on my monitor Aux fader keeps things a bit more tidy and organized.
See this post for more about reference track utility plugins and this post for specifics about metering. Along with metering and analyzers, you may wish to include a plugin that auditions your mix in mono for checking mono compatibility or simply starting your mix in mono. Your DAW may provide a utility for converting your output to mono, or you may use one of many plugins that folds the stereo mix to mono.
We often want to include the coloration of real analog processing or analog summing to our in-the-box mix and you might want to plan for that as you set up your initial subgroup bussing. Otherwise, you may need to route the mix bus to a stereo output of your interface, patch into an analog processor, and return the signal to a new aux input or audio track in your DAW with input monitor engaged. If your master fader is showing average levels above dBFS and peaks above -5 dBFS, you may want to add a trim plugin before your analog insert or reduce the DAW fader that feeds your analog gear.
You can always bring up the level with plugins after you return the signal back to your DAW. If you wish to add an analog summing mixer into your workflow, you can simply assign each of your DAW subgroups to analog outputs of your interface. Your routing will vary depending on how many channels you are able to sum. For eight-channel summing, I would recommend drums and bass , guitars , keys , and vocals Your reverbs and effects can go wherever makes sense to you.
For channel summing, you can split out the subgroups as you see fit. You may wish to switch between different sets of monitors or headphones while mixing and you can accomplish this from inside your DAW, even without a dedicated monitor controller. For this, simply create two or more monitor faders Aux channels in Pro Tools.
Each Aux fader will have its input set to the MIX bus and its output set to a stereo monitor output of your interface. For instance, output could go to your main speakers, to your Mixcubes, and to your headphone amp.
This setup allows for one Sonarworks Reference plugin on each Aux channel and individual faders for volume control of each monitor path. In each DAW, you should be able to set a preference to assign newly created channels to a specific bus or output. Each DAW also allows you to rename your busses and you should do this to help keep things organized. As you develop more complex routing strategies, update your templates to reflect your new routing options and start new mixes from the template that is appropriate to your workflow for that project.
Alternatively, you can simply import tracks from sessions that are similar to your current project and work from there. Subgrouping and bus processing may seem confusing at first, but the sooner you start to use subgroups, the sooner you will discover a new world of mixing possibilities. The lower you move the subgroup fader, the higher the ratio of the processed-to-dry signal and vice-versa. In other words, moving the subgroup fader will change your effects balance.
As a result, you may need to readjust the output levels on your FX Channels or the levels of the effects sends on the individual tracks to compensate. One way around this is to assign a VCA fader to the target tracks instead of creating a subgroup. Unlike a subgroup channel, no audio passes through a VCA. As you can see, subgroups help you keep your mixes organized and efficient. Check out our other Recording Basics postings.
For more information about using subgroups in live sound, check out this article. Click here for more information about Steinberg Cubase. Sub-Groups will also have a physical output from your mixer to feed speakers or devices where you need to send a sub-mix, i. Groups can also be muted. Rather than mute 8 drum microphones at once, you can hit the mute on your group and all the assigned channels will be quiet. Many of the new digital mixers will have sub-groups and DCA groups.
In this case, you have options as to how you want to control your groups and if you have a need to use sub-groups for feeding delayed speakers and other applications.
Most of the time you will be limited to how many sub-groups and DCA groups you have to work with. DCA groups are typically limited to 8. On much more expensive mixers, you may yield as many as Imagine having a drum group and also having access to groups that cross populate with a kick drum group and a snare drum group. Or you could set up groups that have effects returns or multiple microphones on a guitar amp. This allows for very flexible and ultimate control.
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