Excellent topic, given that I’ve been trying to understand the Tonelux bussing and am not quite there yet.
What helps me with signal routing is thinking of specific scenarios, so I was trying to figure out what combination of Tonelux modules I’d need in order to implement the Michael Brauer multi-bus compression technique.
This technique has been discussed many times around these parts, but here is a link to the TapeOp article, just in case (http://www.mbrauer.com/articles/tapeop.asp?pp=1
To summarize, Michael uses four busses (A = top end; B = bottom end [e.g., drums]; C = middle [e.g., guitars]; D = stuff that needs ‘warmth’ ) which go to a combination of EQ and compression that gives him the sound he likes for those four different aspects of the record. Then, he can choose to send each track to any combination of the A, B, C, D, busses and the stereo master. This way, he can get these four [rhythmically distinct] parts of the record compressed independently to his liking without interference from the others… but I should be the last person explaining this. For the sake of discussion, let’s focus on these requirements:
1) the ability to send each track to any combination of the four stereo groups and the stereo master;
2) the ability to sum the four stereo groups to the stereo master.
3) 4 stereo aux/returns (for effects)
My question is what Tonelux configuration(s) would satisfy these requirements, assuming [for the sake of this exercise] we have no more than 16 recorded tracks?
So far, I’m thinking
16 MX2 (for the tracks coming from the DAC + ability to add automated faders later on)
4 FX2+ (for the aux/returns + ability to add automated faders later on)
1 SM2 (for the stereo master)
16 TR8+ (for assigning each track to the four stereo sub-groups)
If this is right, let’s assume I want to send two stereo guitars (coming in tracks 1-4) to C, D, and the stereo master. Then I would have to patch the direct outs of the MX2’s (1-4) to TR8+’s (1-4) which all have the 5, 6 (assuming these are my C bus) and 7,8 (assuming these are my D buss) buttons engaged in the front panel. Getting them to the stereo master is just a matter of engaging the ST button on the MX2’s (1-4)
Did I get it right? Do I really need one TR8+ for each track I want assignable busses on?