Login / Register
 
OTB mixing TIPS compare and ask Q about OTM mixing
New Reply
Subscribe
Paul Wolff Designs
Thread Starter
#1
22nd October 2006
Old 22nd October 2006
  #1
Lives for gear
 
Paul Wolff Designs's Avatar
 
Joined: May 2004
Location: Sunny California
Posts: 1,176
My Recordings/Credits

Thread Starter
Paul Wolff Designs is offline
OTB mixing TIPS compare and ask Q about OTM mixing

I started this because I thought it might be interesting. Please submit suggestions or questions for all to learn from and help with.

My first one was regarding how to do Parallel compression OTB with a TOnelux rig:

First, in the 70's and 80's most of us did parallel compression. Shelly Yakus used it on almost every record he did...

The MX2 is assigned to only the stereo bus and send busses, so the insert is the only thing available for that.

The FX2 can be assigned to any set of busses, but may not be the best way to do that either.

The TR8 has all 8 bus switches assignable. For me, I would assign 7/8 to STEREO L/R then the others to any 6 open busses. You now have a module that during mixdown, can be used as a mix module to the stereo bus, and during tracking, can be used for bussing tracks.

In a mix where you want to take your drums and bring them into the mix, then into a compressor and then into the mix, you would patch the tracks through any EQ you want, then into the MX2 module and you then have the drums in the mix. Then out of the DIR OUT of the MX2 module, you would patch into the TR8 module, assign the drums to a pair of busses, then into a compressor (typically with a fairly high ratio, more than if it was the only compressor on the drums), then back into a pair of MX2s and into the mix. You then can vary the compressed drums and the regular drums.

You could also have the original drums go through the MX2s, but NOT assign them to the ST bus, leaving them out of the mix, then out of the DIR outputs into the TR8s and assign them to 2 sets of busses, one set going to the compressor then to a pair of MX2s, and one going direct to a pair of MX2s. You can now have a pair of faders for the straight signal and a pair for the compressed set and balance them at will. Also, experiment with EQ on either mix to lessen the effect of one or the other in a mix.

Paul
__________________
Paul Wolff
www.paulwolffdesigns.com
"When I look behind me, I clearly see my past getting really, really, further and further and further away"
#2
23rd October 2006
Old 23rd October 2006
  #2
Gear interested
 
Sherekhan's Avatar
 
Joined: Feb 2006
Location: Virginia
Posts: 16

Sherekhan is offline
A more specific scenario

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?

Thanks.
New Reply Submit Thread to Facebook Facebook  Submit Thread to Twitter Twitter  Submit Thread to LinkedIn LinkedIn  Submit Thread to Google+ Google+ 
 
Thread Tools
Search this Thread
Search this Thread:

Advanced Search
Similar Threads
Thread
Thread Starter / Forum
Replies
jayjay / High end
25
ttauri / Rap + Hip Hop engineering & production
7
absrec / So much gear, so little time!
14
ardy77 / So much gear, so little time!
1
JSAudioTN / So much gear, so little time!
4

Forum Jump

SEO by vBSEO ©2011, Crawlability, Inc.