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Post by tonycamphd on Nov 24, 2014 23:57:01 GMT -6
I thought this would be interesting..
I'm wondering how you guys set up your consoles(virtual or literal)?
For me, i start with instrumentation, I'm a L to R kinda guy, Drums/perc on the left and then I work my way right, and basically order things by kind/low freq's up through high freq's orchestrally, leaving vox/BGV last in line, i will put the bass guitar tracks 1st before the kick drum as those work in lockstep. I will put static tracks on the right of my center section of subs/master. When i'm ITB, I prefer to stay in the mix window more than the edit window, probably a signature of cutting my teeth on real consoles...or my old age 8)
My general(loose) set up for stereo stems/subs/buss/aux's(or whatever you may call them?)
Drums Sub
Mono Bass sub
Guitars Sub
keys Sub
Vox Sub
BGV Sub
Reverb/effects Subs x how ever many are necessary
I like to insert compressors on these stereo subs for sure, but never eq's or anything more, i feel eqing needs to be taken care of on the individual channels. On the reverbs/effects i will filter, compress, eq, and always de ess on the way in. I'm a naked 2 buss guy, I do NOT ever mix into a 2 buss compressor EVER!
Does anyone else do things like this or even close? If not, how do you skin the cat? I'm always open to new ideas and things i've never seen/heard before.
Thanx
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Post by wiz on Nov 25, 2014 0:42:54 GMT -6
In order left to right
Kick
snare
Floor Tom
Rack Tom
Overhead RIde
Over Head Hat
Bass
Acoustic Left
Acoustic Right
Electric Left
Electric Right
Keys Left
Keys Right
Solo Guitar
Vocal
Harms Left
Harms Right
Stereo Buss
Plate Verb
Hall Verb
Delay Vox
Delay Guitar
Master OUTPUT
cheers
Wiz
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Post by svart on Nov 25, 2014 23:18:09 GMT -6
Left to right on the mixer:
1,2: Guitar sub/stem (currently distorted)
3,4: BG vox sub/stem
5,6: BG instruments sub/stem (currently violin)
7,8: Keys sub/stem(currently)
9 main vocals pre compression
10 main vocals post compression
11,12: guitar sub/stem 2 (currently acoustic)
13,14: guitar sub/stem 3 (currently clean)
15,16: toms L/R
17 Bass pre compression
18 Bass post compression
19 Kick
20 unused currently
21 snare under
22 Snare top
23 OHL
24 OHR
Bus 1,2: Drum parallel
Bus 3,4: Guitar bus/parallel
Bus 5,6: Vocal bus
Bus 7,8: unused
They are in no particular order. They just ended up that way over time and I don't typically change them until I need to.
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ericn
Temp
Balance Engineer
Posts: 16,099 
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Post by ericn on Nov 26, 2014 19:33:55 GMT -6
Years ago I tried to have a set console template, , but to many years of live work doing the opening acts opening act, where I got what I got and studio consoles where it was find enough working channels.
Now I start with putting what I know I'm going to be grabbing all the time on my left near center so I can easily grab it with the hand with all the fingers and feeling! Yeah that might have something to do with it as well!
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Post by mrholmes on Nov 26, 2014 23:27:36 GMT -6
I use different templates in logic and the order on the console follows.
Top to bottom in logic is left to right on the console.
Its the best way to me to mix hybrid.
I need that order it helps me to mix more intuitive.
Left to right is most often.
Drums,Base,Guitars,Keys,Strings etc.
Lead Vocal for a reason I can't explain goes on the last strip.
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Post by henge on Nov 28, 2014 10:43:53 GMT -6
This is my template.
Kick
Snare
HHat
Percussion
Cyms
Toms
Ohead
Room
Bass
Lead vocal
Backing Vox
Guits
Keys
I used to have FX after Keys but now I just have the FX after each channel they're effecting.
Interesting to see everyone's different approaches.
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Deleted
Deleted Member
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Post by Deleted on Nov 30, 2014 12:28:56 GMT -6
L->R
Drums, Bass, Guitars, Keys, Vox, BGV, FX+other stuff.
This may differ slightly by project, style of music, whatever, but this is somehow the classic FoH mixer's order that i always have in mind and that became intuitive to handle for me. No matter if virtual or analogue.
If an analogue console has issues, you may have to improvise, like eric said about live business, reserve the best channels for vox etc. but with modular consoles, it's easy to get faulty stuff out of the way and change with backup modules in a matter of minutes, that makes them so great...
With analogue higher channel count, you may leave gaps, define areas for the types of tracks, so your standard setup does not change between projects, even if you have additional tracks, second bass track, different drum setups etc... This way you have the kick, snare, hihat, bass, lead guitars, lead voices etc. always at the same places on the console for a familiar feeling and faster workflow the longer you work with it...
Using different colours, also on the analogue consoles scribble strip, speeds up orientation....
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Post by jcoutu1 on Nov 30, 2014 13:11:50 GMT -6
My live setup is similar to @smallbutfine.
Always start a 1 with kick, snare, oh. 7-bass. 8/9 guitars. 10-15 keys, harp, horns depending on the night. 16-18 vocals stage r, c, l. 23 delay, 24 verb.
We have gaps to add toms or a second bass channel if necessary. Can shift the vocals around a bit too. Sometimes we have 2 guys left of lead/c or 2 to the right etc.
Pretty rare to have a full console, so we can shift if needed.
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Deleted
Deleted Member
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Post by Deleted on Nov 30, 2014 14:11:15 GMT -6
Btw...
mrholmes remembered me on something. In quite some places i've been, they used the last channels on the console for vox.
I believe, this is due to the habit, that on many consoles, after some time, it is considered this is the least used channels that maintained best quality, so you have the least problems with the delicate and picky vocal artist and never miss a good take/have obvious live sound issues due to technical probs you could be blamed for... ;-).
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Post by jimwilliams on Dec 1, 2014 10:21:48 GMT -6
Just about every high end pro studio in LA back in the 1980's had a "death channel" on the console. Usually it was fried and covered with a strip of red tape. Since I always brought spares and a tool kit sometimes I would fix it so I wouldn't have a gap in the middle of the console = re-routing = re-numbering tracks = PITA. The cheap-@ss studio owners usually didn't want to pay for the fix so at the end of the session I would pull out my parts and put their blown parts back in, carefully replacing the piece of red tape.
I keep my personnal console in tip-top shape so I never suffer from those problems. The order of tracks is set by the order recorded on the HDR. I'm not pendantic about "order" and such things, they excuse creativity and experimentation. Record production is not an assembly line, everything should be mixed up as much as you can, it makes you a better AE.
I have placed critical tracks at the end, near the master mix module. There is less wire and distance to travel through. Propogation delays are optimized, it's a better place for transients. On that subject, yes I am pendantic. It came from Jimi Hendrix:
"I want to see and hear, EVERYTHING".
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