Quote:
Originally Posted by Chipotle
KevWind, are you saying that you'd run everything to a "2 bus" and put your overall mix compression/EQ there, instead of the Master? What advantages does that have, or is it just a ProTools workflow thing?
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Yes basically that is what I do . It is not a Pro Tools workflow thing per. se. And it is basically just my thing, based on how the inserts and signal flow works in PT. As noted in Pro Tools the FX inserts on the tracks (Audio, Midi, Aux and Bus ) are are being applied to the signal before it goes thru that tracks Fader ....On the Master Fader any insert FX are being applied after the Fader. Is that an advantage ? I think so.
Yes I put my Mix/ Master Compressor on the 2 Bus ( don't usually use a mix EQ)
That way I know that I am not clipping the 2 Bus with the Master Compression being applied before the fader .
The only thing I place on my Master Fader is a lookahead brick wall limiter (which I want to be applied after the fader ).
Here is screen shot of one of my session/project templates
Quick guide: all Guitar tracks are light blue , Guitar bus tracks are dark blue, VI Instrument are light green , Vocal tracks are magenta The parallel Reverb track (M 7) is purple , The 2 Bus (2 Mix) is orange, and the Master Fader is bright red
As You can see I have an EQ (EQ3 7-Band) on each audio & midi track, and on the "M7 Verb" Reverb Aux track, all in the top slot position Then on each Guitar Bus track I have a stereo Fairchild 670 plugin in the second insert slot . On the 2 Mix I have the Master Compressor (3U) also in the second insert slot and on the Master Fader I have the (L2007) brick wall limiter agin in the 2nd slot. ( the importance of the slot number position is because in PT there are key commands for tuning off and on all the FX in that insert slot number row, at the same time) So I uses the same format for all my templates
