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Post by Deleted on Mar 8, 2014 22:44:36 GMT -6
I'm not asking Brauer theory. It is pretty well documented.
What I'd like to know is what YOU do. How do you divide up your bussing and how do you process it?
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Post by jcoutu1 on Mar 9, 2014 7:54:29 GMT -6
I'm not asking Brauer theory. It is pretty well documented. What I'd like to know is what YOU do. How do you divide up your bussing and how do you process it? I only have 4 busses on my consoles. Normally I have stereo drums and stereo vocals. Always buss compression on drums, not usually on vocals, mainly for a lack of stereo comps. Ideally, I would have a buss for drums, guitars, other instruments, and vocals with a buss comp on all. |
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Post by henge on Mar 9, 2014 8:28:52 GMT -6
Since I'm itb I buss like crazy!!LOL Drums,Vox,Guitars,and Keys each have there own folder containing the appropriate tracks, and each folder (buss) has the appropriate VBC doing no more than a db of compression on the peaks.
Within the drum folder all the tracks are bussed to either the UBK1 comp or the WA76 smashing the shit out the tracks.
Within the Vox folder, backgrounds have their own buss with whatever eq and whatever VBC is needed.
Within the Guitars folder guitars are bussed by type ( verse guitars, chorus guitars etc.) with whatever eq and whatever VBC is needed. Same thing with the keys folder.
It makes sense to my little brain...
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Post by nobtwiddler on Mar 9, 2014 8:41:16 GMT -6
Pretty Straight forward here also...
Using a combination of Stereo and Mono Subgroups.
For example:
Bus 1&2 = Stereo Drums, the entire kit goes in here including any percussion....Compressors vary, but usually it's a Shadow Hills MC, a Smart SC-2, Neve 33609 or a Fatso if I want a bit of dirt.
Now I usually duplicate the Kick and Snare tracks, and they also get sent to the Stereo Bus for a bit more oomph.
Bus 3 Mono = Bass, If I cut the basic tracks, then there is always two tracks, one is the bass Di and the second track is the B-15 amp track. These are processed separately, and summed to the one bus, and compressed with either a Distressor, a Chandler EMI Limiter, or a Universal Audio La2A, La3A.
Bus 4 Mono = Vox, This subgroup is for the lead vocal and any single line harmony, doubles, etc. Stuff that is usually panned up the middle. Just like the bass tracks, all the vocals in this bus get processed on their respective channels and then get summed to this bus. Compressors that I use a lot on this subgroup are, UA 1176, Requisite 2LA, Chandler EMI, Daking 91579. and sometimes a Distressor works!
Bus 5 & 6 = Stereo Guitars, Here is where all the guitars get summed, I don't believe you need compressors on guitar tracks, especially if they are heavy distorted sound, but if I'm working with Acoustic instruments, or clean choppy parts, I will usually put a pair of Daking 91579 limiters on here, and I also love the original Joe Meek SC-2 across the guitar bus. A lot of times the solo guitars will be taken out of this bus, and placed in another bus that let's them speak better in the mix.
Bus 7 & 8 = Stereo BK Vox, Keys, and everything else.. Again everything Eq'd on their individual input channels and summed on 7 & 8. I like to use a Neve 33609 here.
That being said, I might take things out of their "normal" busses, and place them in another if it works better for whatever I'm trying to achieve. There are also a few things that will get bussed directly to the stereo master bus, and that always has a SSL 384 with a bit of 4:1 compression on it.
Nothing fancy very simple set up, I've been doing this for about 15 years now, and it seems to works well for me.
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Post by jazznoise on Mar 9, 2014 8:55:55 GMT -6
I'm ITB and I don't tend to do much bussing. Vocals, any multi mic configurations (overheads, rooms, bass di + bass mic) and that's about it. I will have several sends - usually 2-3 reverbs and and a pair of delays. Sometimes extra effects, depending on how eccentric the mix is.
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Post by jcoutu1 on Mar 9, 2014 9:40:20 GMT -6
Pretty Straight forward here also... Using a combination of Stereo and Mono Subgroups. For example: Bus 1&2 = Stereo Drums, the entire kit goes in here including any percussion....Compressors vary, but usually it's a Shadow Hills MC, a Smart SC-2, Neve 33609 or a Fatso if I want a bit of dirt. Now I usually duplicate the Kick and Snare tracks, and they also get sent to the Stereo Bus for a bit more oomph. Bus 3 Mono = Bass, If I cut the basic tracks, then there is always two tracks, one is the bass Di and the second track is the B-15 amp track. These are processed separately, and summed to the one bus, and compressed with either a Distressor, a Chandler EMI Limiter, or a Universal Audio La2A, La3A. Bus 4 Mono = Vox, This subgroup is for the lead vocal and any single line harmony, doubles, etc. Stuff that is usually panned up the middle. Just like the bass tracks, all the vocals in this bus get processed on their respective channels and then get summed to this bus. Compressors that I use a lot on this subgroup are, UA 1176, Requisite 2LA, Chandler EMI, Daking 91579. and sometimes a Distressor works! Bus 5 & 6 = Stereo Guitars, Here is where all the guitars get summed, I don't believe you need compressors on guitar tracks, especially if they are heavy distorted sound, but if I'm working with Acoustic instruments, or clean choppy parts, I will usually put a pair of Daking 91579 limiters on here, and I also love the original Joe Meek SC-2 across the guitar bus. A lot of times the solo guitars will be taken out of this bus, and placed in another bus that let's them speak better in the mix. Bus 7 & 8 = Stereo BK Vox, Keys, and everything else.. Again everything Eq'd on their individual input channels and summed on 7 & 8. I like to use a Neve 33609 here. That being said, I might take things out of their "normal" busses, and place them in another if it works better for whatever I'm trying to achieve. There are also a few things that will get bussed directly to the stereo master bus, and that always has a SSL 384 with a bit of 4:1 compression on it. Nothing fancy very simple set up, I've been doing this for about 15 years now, and it seems to works well for me. I also send my kick and snare to the drum buss and master buss to get a bit more punch. P.S. sounds pretty fancy. That SHMC alone costs more than my console.  |
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Post by svart on Mar 9, 2014 12:54:45 GMT -6
Since I'm hybrid, I do it the hybrid way!
ITB, I'll bus certain guitars together, backing vocals together, keyboard sounds together, etc. Mostly stuff that doesn't need discrete console channels. I'll then make sends on tracks that need to be sent to the headphones and I'll bus those together ITB so that I have stereo guitars, bass, drums, vocals and other stuff which I'll then output to an ADAT optical output to an ADA8000 for analog headphone pods. These will have plugins on them, mainly compression and reverb. The listener at the pod the mixes their own mix.
OTB, I'll bus guitars and drums mainly. Sometimes I'll do parallel stuff, mostly not these days.
Also mostly these days, I do the compression and effects as inserts on single tracks. I do, however, do master bus compression and usually a light amount of EQ.
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Post by Deleted on Mar 9, 2014 17:45:20 GMT -6
Good stuff guys. Thanks. I was doing some reading and it seems that the only person who really talks about bussing is Brauer, likely because it is an unusual process - works for him.
On a related note, I saw some brief talk from Justin Niebank who stated that he doesn't everything from scratch on every song, no templates and no solid starting point. He may start with Vox or drums and bass.
He did talk barely about his approach with lead vox using 3 channels with different settings and different verbs and delays. He says he loves spring verb on lead Vox. Interesting.
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Post by svart on Mar 9, 2014 18:13:10 GMT -6
I'm always skeptical of folks who swear they start anew on each track, session or gig. Part of having a sound is doing certain things, certain ways. That's why we have the CLA sound, the Andy wallace sound, etc. Even if someone were to truly start on a clean slate, they'll quickly set things up how they are familiar, whether it's conscious or subconscious. It's my opinion that those guys tend to sell their services on "tailored" work, although the band/producer probably chose the mixer for their sound..
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Post by Deleted on Mar 9, 2014 19:49:47 GMT -6
I'm always skeptical of folks who swear they start anew on each track, session or gig. Part of having a sound is doing certain things, certain ways. That's why we have the CLA sound, the Andy wallace sound, etc. Even if someone were to truly start on a clean slate, they'll quickly set things up how they are familiar, whether it's conscious or subconscious. It's my opinion that those guys tend to sell their services on "tailored" work, although the band/producer probably chose the mixer for their sound.. right, I know. That is partially why I mentioned it... as unusual as Brauer's bussing. By his comments, he is one that works to not impart "his" sound, if I gathered correctly - referring to Niebank. |
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Post by jazznoise on Mar 9, 2014 19:55:07 GMT -6
I'm always skeptical of folks who swear they start anew on each track, session or gig. Part of having a sound is doing certain things, certain ways. That's why we have the CLA sound, the Andy wallace sound, etc. Even if someone were to truly start on a clean slate, they'll quickly set things up how they are familiar, whether it's conscious or subconscious. It's my opinion that those guys tend to sell their services on "tailored" work, although the band/producer probably chose the mixer for their sound.. Yeah but CLA basically does 20 of the same gig a month. You wouldn't use the same setup for American Idiot as you would for Night At The Opera, would be my 5 cents here. Some people aren't in the specialty-within-a-specialty game. |
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Post by svart on Mar 9, 2014 20:06:35 GMT -6
I'm always skeptical of folks who swear they start anew on each track, session or gig. Part of having a sound is doing certain things, certain ways. That's why we have the CLA sound, the Andy wallace sound, etc. Even if someone were to truly start on a clean slate, they'll quickly set things up how they are familiar, whether it's conscious or subconscious. It's my opinion that those guys tend to sell their services on "tailored" work, although the band/producer probably chose the mixer for their sound.. Yeah but CLA basically does 20 of the same gig a month. You wouldn't use the same setup for American Idiot as you would for Night At The Opera, would be my 5 cents here. Some people aren't in the specialty-within-a-specialty game. No, but if you stick an 1176 on something instead of an LA2A, then you get a sound. You might not use the same settings, but the footprint is there. Someone might not use the exact same settings, but someone who knows their gear, has a tendency to use specific gear over and over. Like I said, its subconscious, and I can bet you'd hear it if you are looking for it. |
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