how do you use the bus in stm24 mixer?

bosone · Post by **bosone** » Tue Dec 13, 2005 9:02 am

this is just a curiosity, since i almost never used them...
does it give some advantage in using them? in which way?

thanks!

eliam · Post by **eliam** » Tue Dec 13, 2005 9:16 am

One instance I use them is when I want to have many tracks one one fader, usually to apply an effect on those tracks only. Example: If I have a brass section on many tracks and I want to compress the whole ensemble, I route the tracks through a stereo bus and send the bus out back into a separate channel. I can deactivate monitoring on those tracks if I want to hear only the stereo mix that goes out through the bus or mix both. Aux outs are mono, so they're not very useful to do this type of thing...

<font size=-1>[ This Message was edited by: eliam on 2005-12-13 09:18 ]</font>

Lima · Post by **Lima** » Tue Dec 13, 2005 2:05 pm

Nice idea! Very usefull

Thanks

eliam · Post by **eliam** » Tue Dec 13, 2005 9:14 pm

Another useful feature is the "group tracks function", which allows the faders you want to all move at once. Its just beside the mute group under the fader.

Nestor · Post by **Nestor** » Wed Dec 14, 2005 3:31 am

They give you a fast and easy way to locate your ideas. You could for instance, route several voices to a group called “VOICES”, and your drum, percussion and bass routed to “DRUM&BASS”, then another one with only “STRINGS”, grouping those instruments will give you enormous advantage to listen to changes in a very fast fashion. Why is it important? Because if you listen to a mix for a long time, the mix start getting into your brain in a routine fashion and you are no longer able to judge objectively about what is going on. If you can do fast changes presenting the material in different ways, you’ll judge more appropriately about the correct levels for this particular passage or piece of music.

It is also a FAST way to listen to different kind of FXs you could use in, for instance, the first buss “VOICES”. If you were to change the effect one by one, again, you’ll probably loose perception and no longer know what is going on. All professionals says the same thing: “Ears get fast accustomed to what they hear”, so you need to listen to changes ideally in no more than 5 to 10 minutes, to decide changes.

Bob Clearmountain, one of the top mixingman of all times, says he always works very fast, and in most cases he does the job in between 20 minutes to 2 hours. He never takes long periods mixing, as he believes this takes away all the momentum.

I can hardly imagine the work of Bob without using busses to achieve it in such a fast way.

Nestor · Post by **Nestor** » Wed Dec 14, 2005 3:34 am

I should say he takes from 20 minutes to 2 hours mixing an album, not a song…

Lima · Post by **Lima** » Wed Dec 14, 2005 4:44 am

I need to practice.

Until now I've used external dynamixers to submix groups like the Drum'n'Bass.

I remember that I've found some difficulties understanding the internal routing of the big mixers when I purchased it and this is the reason of my tricky way.

bosone · Post by **bosone** » Wed Dec 14, 2005 7:14 am

On 2005-12-14 03:34, Nestor wrote:
I should say he takes from 20 minutes to 2 hours mixing an album, not a song…

i, too, am able to mix an album in 20 minutes.
the problem is that the result is CRAP!!!

Nestor · Post by **Nestor** » Wed Dec 14, 2005 9:33 am

That's great humour man!