3 VERY COMMON I have a delay on a send of a vocal and I want to catch a specific word to be delayed.Įx. 2 I automate a snare send to a verb to catch a part of the snare and highlight the tail or whatever in a verb.Įx. For the chorus I bring it back up because everything is raised in volume.Įx. During the verse I automate a synth send so it has less verb to make the vocals sit on top. Mixing is about control and you have another gain stage to control how much signal a reverb/delay/echo/pcomp gets. See my earlier post, but the uncanny Valley points out a key reason for sends. I'm a passenger in a moving car right now, trying to respond to you and act as navigator simultaneously. ( * = not a common way of doing things = here I'm stressing that 50 years of pro audio technique has shown that for the vast majority of situations, it's most useful to use compression on tracks and sub mixes rather than sends.) Sends are most often used to subtly blend in reverbs and effects like delays or any other modulation type effects to varying degrees according to your taste and the needs of the song. While you certainly could use a compressor as a send destination, that's certainly not a common way of doing things*. The beauty of setting up sends is that you can customize the amount of the send effect with the original signal in varying percentages. I believe you've answered your own question in your second paragraph above. ![]() Is it a common mix technique to have an unaffected signal and an affected version of that signal playing at the same time or something? And this is something I don't understand the point of. With sends, the only difference I can identify is that you still have the outputs of the original tracks set to the default stereo output so that both the original tracks and the track that is receiving the sends are being heard simultaneously. Am I missing something in your explanation here? Use sends for effects which you'd like to apply to multiple tracks simultaneously.that might also eat up a lot of RAM/CPU cycles like reverbs, delay designer.īut isn't that what the submix technique I described is for? If you wanted to apply one compressor to all of your drums you would set the output of all of your drum tracks to Bus 1 and then put the compressor on the aux track that has Bus 1 as its input. > Also, what is the use of the sends on channel strips? I really like to further process both of them together using plugs on the sum. Now I have a fattened signal that I have multiple gain stages and the ability control width, center etc. Now that it is in my Main window I can select both the tracks and use CMD+SHIFT+D to group them in a bus. LASTLY at the bottom of the bus I right click on the name and use Control+T to create the track. Then, on the Bus I equal pan to the right, load a delay and use haas effect. ![]() Choose POST FADER, this enables the sent signal to not be effected by original track pan. (Also why sends are huge you can automate and control how much of a signal goes to a bus.) THEN**** my favorite thing, on the original channel strip I click and hold on bus assignment showing routing. First I pan original to the left say -45, then I use a send from original track and first option click the dial to make it equal gain. I have a stereo track I want to fatten but not take up all the room in my mix. Explore.įor example, here is one PRO trick on the house. The use of sends is for time based FX, parallel processing etc. Make sure that create summing stack is the option selected in the popup. To answer your first question you could do that but a far easier way (in logic) is to select tracks that you would like to have in the group and cmd+shift+D. ![]() I will break this down for you but learn signal flow and read the manual.
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