So after composing all the elements to the beat and arranging everything, you mix the track just how you would normally, right?
And THEN send everything to their respective busses based on the guidelines in the tut?
I'm gonna have a good time experimenting with this in the next week or so I think. Really want to thank you for making the combi and template.
A template for FL would be wonderful, I'm trying to get a grasp of this concept as well.
Is he saying what I think he is saying, that the ABCD styled multi-buss compression is assigned POST-FADER from the instrument group buss? Or is this "subgroup master" refering to something else entirely?"If at any point I'm feeling like there's too much compression going on and it's not open anymore, I take that subgroup master and just bring it down."
I'll make one tomorrow or something and write up the tutorial.
Hey,
I was messing around with the template a bit, and I got stuck a few times because sometimes I wanted to use aux effects on my main mixer, but obviously the aux sends are already occupied... how would I go about setting up send effects with this setup?
Morning star i too would LOVE you to do an FL Studio Template.
Perhaps you could get the thread stickied?
Thanks Bro.
I'm going to work on it tonight. Should be up tomorrow.
You can do it in FL Studio too. I could make a template for it also.
Alot of Michael Brauer's techniques are designed to maximize the capabilities of a console for analog mixing. It can be done in the box, but I would wonder what exactly is the point? You have as many compressors as you need.
Anyway - for those who need an explanation of this, in any DAW, here's what you would do:
Create 4 group busses. These busses are:
A: "Dominant Midrange" - your vocals, your synths
B: "Dominant Rhythm" - your kick, your bass, other things that are holding down the lower mid and low end rhythmic components
C: "Transient Midrange" - guitars, snares (in Hip Hop), anything with transient energy that occupies the same frequency domain as the dominant mids
D: "Warmth" - this is anything that needs to be thickened up - a lot of background stuff, pads, flutes, etc.
Then you assign elements to each buss based on the role they play in the song (hence why I gave them those names).
On each buss channel, you use a compressor or comp/eq combination that you feel compliments that role. It's subjective. Michael Brauer opts to use distressors for his dominant rhythm buss. I would probably go for the API2500. You can put whatever you feel there.
Here's the thing about Michael Brauer. A buddy of mine was his assistant for over a year. From what I've been told, Mike is a hyper-meticulous and brilliant engineer. He has tons of extremely complex systems of maximizing the power of analog mixing. All of these systems require callibration tests and phase tests across each piece of gear - the setup can be arduous and if one thing is out of place it can mess up the process or at least hinder the workflow. IF you are mixing on a console, read MB's site like it's part of the scriptures. If you are ITB, read it for the sake of pursuing knowledge, but don't sweat the details - you can make your own system.
Thanks for posting this. Very interesting!
This basically supports the idea that the more ways in which different tracks of audio are processed together the better the 'stick' or 'get glued' together.
I've used multiple busses in this way a number of times, but I don't usually go into such great detail with it.
For example I'll have all Dominant rhythm bussed to an aux together and compressed, and All powerful midrange, but almost everything else will just be in it's own space (straight to L/R). In my dance style techno I'll buss the leads and bass synths together and sidechain the comp on it to the kick. THUMP THUMP (I beleive that type of sidechaining started with some DJ's in Paris or something?? idk correct me if I'm wrong)
I would like to try this hyper-detailed bussing technique. Sounds fun!
@weisssound - You have good stuff to say on threads. I think I've learned just as much from you as I have from my audio professors
I perfer FL STUDIO 9 for all my mixin an post mastering production .. fl is really a beast with all the vst selections...but thats jus me
off topic