This is because an EQ operates the same regardless of the signal level coming into it, while compression and saturation are entirely dependent on the input level. As such, you may still want to compress or saturate the channels feeding a bus individually.
Auxiliary channels —also known as aux channels, auxes, return channels, FX channels, or perhaps something else, depending on your DAW—are similar to group buses. Like subgroups, they can receive their input from a mix of channels, and typically output to the master bus.
Where they differ, however, is in how a signal is routed to them. Aux channels receive a copy of the signal, leaving the original to continue on to a subgroup or the master bus. This is done via a send control, rather than the output, of the source channel s. Sending a copy in this way allows you to maintain the original, unaltered signal, while simultaneously processing the copy, giving you independent control over each.
We could place a reverb on each channel, but this creates some problems. Another option would be to add a single reverb to the drum subgroup. While this solves the CPU efficiency issue, now every drum has the same amount of reverb on it, which may not work in the mix.
Now, we have control over the amount of reverb on each drum via the sends, and also the amount of overall reverb via the aux channel fader, all while saving on CPU cycles. Hopefully this has helped you understand the general concept of a mix bus along with some of the specific types such as the master bus, a subgroup bus, and an aux bus.
So, whether you just want to organize your tracks in subgroups or set up complex effects signal flow chains with auxiliary buses, mix buses can be a huge timesaver and simplify your work. As always, less work for you means more time staying creative, so why not get the best of both worlds and stay organized and creative? Good luck, and happy busing! What are sends? What are return effects?
We answer these questions and list six mistakes to avoid when using them. Should you use an audio effect as an aux or insert? Which is better for your particular track? As you can see in the screenshot below, I have four vocal tracks in this session which I have routed to the vocal bus, all I needed to do was change the output of the vocal audio tracks to the bus created earlier and the signals will now route through the vocal bus track.
So there you have it you have created and applied a bus within Pro Tools, as mentioned at the beginning of this tutorial, this will now allow you to control the level of the combined bussed tracks from a single fader. You can also add effects to the auxiliary bus fader which will be applied to all sounds routed through it, it is worth mentioning that any insert effects placed on the original audio tracks which have been routed through the bus will be sent as well.
We hope you have enjoyed this tutorial and that it will help you during your future productions. Please leave a comment below telling us how you have used bussing in your session or tweet us on our Twitter account. Thanks for a great article. Just wanted to clear my doubt. If I send mono track to a stereo bus there is a level drop of 2. So how to manage that please? Thanks in advance. I hope that makes sense and you are able to help. Many Thanks, John.
Very helpful, simply informative tutorial. This helped me during mastering of a previously mixed session, particularly in the use of compression and minor level editing. Thanks very much. Great info! What is the Input supposed to be set to? Sorry for the lack of knowledge. So for example you set up say three vocal audio tracks and record your three singers, those tracks now no longer require an input so you can set them to no input should you wish.
We then want to route all these vocal tracks to one place so we could for example place a reverb on them as a single group. This is where Pro Tools Groups come in. Now in the same way as you might push harder into the compression for all your backing vocals at the bus compressor by lowering a single threshold control, you can do the same on all of the compressors at the same time by adjusting the threshold of any of your grouped compressors.
This is made much easier if you assign memorable ID letters to your Groups when you create them, like D for drums, G for guitars, and so on. A better way still is to use Control or Start on a PC to temporarily suspend the grouped parameter linking. When mixer parameters are grouped and the same parameter is at different levels on different tracks, the offset between tracks is preserved. So, if a fader or pan is different on one of a group of tracks, when grouped this difference will be preserved.
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