![]() In the Mixing Board, locate your drum‑overhead track and click in one of its Send pop‑ups.Ģ. Note the Send's 'P' button, showing it's in pre‑fader mode.ġ. Here's a great way to set it up in DP: Parallel compression can create seriously dynamic‑sounding drum tracks. Often used to supercharge drum overheads, in essence it's all about splitting the track's signal in two, applying aggressive compression to one 'half', leaving the other alone, and blending to taste. Parallel CompressionĪ technique that comes up frequently in SOS's interviews with great producers and engineers is parallel compression. You can also try compressing or gating the reverb output, or passing it through a chorus plug‑in for a dreamy, de‑correlated sound. Try doing that for a reverb instantiated on an audio track and you'd end up EQ'ing the dry signal as well. ![]() For example, it allows you to place an EQ in an insert slot below the reverb to really sculpt its sound. As well as being more efficient, it also opens up new creative options. Experimenting with different reverb types is so much easier now, because there's just the one plug‑in to manage. Do this for any number of audio tracks, and bus 1‑2 gathers all the sends together. Now, to put some reverb on an audio track, you just turn up its Send Volume knob (and optionally use its Send Pan knob too, to help with proper stereo imaging). Then choose that same bus 1‑2 as the input for the aux track you created in step 1. For each of your audio tracks, click on the uppermost Send Output pop‑up and choose 'bus 1‑2', which you'll find initially in the New Stereo Bundle submenu. There should be a tick next to 'Sends' in the mini‑menu.ģ. Still in the Mixing Board, make sure the Sends section is visible. Set its output to your main hardware outs (or whatever you use for monitoring), load your favourite reverb in one of its insert slots, and set the reverb's wet/dry mix control to 100 percent wet.Ģ. From Project menu / Add Track, create an aux track. We'll tie the whole lot together with a bus - one of DP's invisible audio conduits. Next, we'll configure the specialised extra outputs on the audio tracks - their aux sends - to split off some signal from each, destined for the reverb. We're going to set it up on an aux track, a track type that you can't record on (although it can still be automated) and whose purpose in life is as a routing tool. What's needed is a way to share one reverb flexibly amongst those 20 tracks - and it's easy. Second, configuring all those reverbs is very labour intensive, with way too much room for confusion. First of all, the CPU hit of 20 reverbs could be colossal - potentially crippling if your Mac is already maxed out. Surely it's just a question of instantiating a reverb plug‑in on each? Well, it's not out of the question, but it'd be a terribly cumbersome way of working. You've got 20 audio tracks, and they all need reverb in differing amounts. Many more possibilities open up when you explore the world of buses, aux tracks and sends - and we'll do that right now, starting with a classic mix technique. ![]() There's nothing wrong with this, but it's sometimes neither the most efficient nor the creatively smartest way to work. You know the routine: create your audio tracks, configure hardware inputs and outputs for them, record, slap on plug‑ins during mixdown, and Bob's your uncle. It's easy to set up with an aux track, a bus pair and track sends.įor many projects, DP's basic mixing facilities will get you where you want to go. It's CPU‑efficient, keeps a mix clear and simple, and can help to create a coherent sound. Sharing a single reverb amongst many tracks is a common way of using aux tracks.
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