Your new FX Send Aux track will appear at the far right of your mixer, just to the left of the master output. Now we can apply reverb, delay and well, just about any FX we own for Logic to this Aux track. Then use the Send slots on any track in our session.
For our example today, we have a Space Designer reverb setup above. Logic users that frequent the Library of preset instrument patches on LPX will likely have noticed that in many cases Apple has setup bus sends for us. We are basically going over how to set these things up manually, allowing us to fine tune our mix. And there we have it, some of the most useful applications for busses, aux tracks and Submixes.
There are a number of ways to get creative we these techniques by experimenting with which tracks get sent where and which FX you use. There various uses described here are just starters and can be a great way to understand some of the more complex patches and setups found in LPX and just about all other DAWs.
Have any interesting uses for busses and aux tracks in Logic? Let us know in the comments below. If there is any gear you would like us to take a closer hands-on look at, let us know in the comments section below or shoot us an email. FTC: We use income earning auto affiliate links. Check out 9to5Mac on YouTube for more Apple news:. The Mac runs macOS for its operating system. You have to view automation to see it. LPX Which leads to this question Once I delete it, the order will be 1,2,4,5,6.
How do I add Channel 3 between 2 and 4? Sun Feb 17, pm Select all of your busses, right click and select 'Create Track'. A track for each bus will then appear in the main window. Make sure the view in your mixer is set to 'Tracks' and when you move the buses around in the main window, it will be reflected in your mixer. If you delete a bus track in the main window it will also be deleted in the mixer. If you don't want to see the bus tracks in the main window once it's done, you can pop then in a folder and hide them.
Last edited by jonparadise on Sun Feb 17, pm, edited 1 time in total. Turn the instrument up, therefore, and the compressor works harder. Open Project 1, which contains an unmixed track. Select all the channel faders and then insert a send to bus 1 from the first send slot. Instantiate Space Designer across the newly created aux channel. Check the status of the bus send. You can set the reverb level with the small send controls, or alternatively, use the new Sends on Faders feature on the top of the mixer to see all the respective send levels on the main faders.
With Sends on Faders active, raising the fader is the equivalent of pushing the sound further into the reverb. Try creating a varied soundstage with some instruments having a greater amount of reverb than others.
To keep the mix visually clear, I usually keep the respective bus sends correct to their horizontal alignment — bus 2, for example, appears on slot 2, and so on. Try adding some delay to the harp. One flexible addition to note is the ability to create more sends from the aux channels, thereby routing effects to other effects.
The compression needs to be pushed hard, using an ratio and yielding -5 to dB gain reduction. Use the fastest attack setting the transients need to be squashed , and a medium release around ms.
Use the aux channel level to set the depth of the effect. As the compressor is applied in parallel, you have the option of adding additional instruments. Changing the fader level will, of course, change the behaviour of the compression.
Try switching to a pre-fader send, therefore, so that the compression is driven the same irrespective of the channel fader level.
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