Pro Tools Mixing Templates Download

  • Down South

    Jeremy LoopsSpedeMatthew Kinsella and 4 more.

    Allright! Here's my submission for this competition. This turned out to be a kind of 'greatest hits' of my antics in blend.io....

    • 0
    • 0
    • 0
    • 1

  • Saints - Pro Tools

    Session files for 'Saints' from the album 'Innocents'. You're invited to re-imagine and remix it.

    • 24
    • 531
    • 1
    • 8

  • Down South

    Jeremy LoopsSpedeMatthew Kinsella and 3 more.

    Allright! Here's my submission for this competition. This turned out to be a kind of 'greatest hits' of my antics in blend.io....

    • 22
    • 316
    • 3
    • 1

  • All I Want Is To Be Your Girl

    Allrighty! Here's my entry to the AIWITBYG contest. I spent the midsummer holiday at my parent's place and they had some old crusty acoustic...

    • 21
    • 536
    • 0
    • 2

  • Down South

    Jeremy LoopsSpedeMatthew Kinsella and 3 more.

    Allright! Here's my submission for this competition. This turned out to be a kind of 'greatest hits' of my antics in blend.io....

    • 14
    • 312
    • 2
    • 1

  • Moist - Me And You

    DEACTIVATE meSpedeIOMD and 2 more.

    The moment I heard the original, I felt the potential this song had to offer! Not a remix but more like a reproduction: On top of programming a new...

    • 26
    • 358
    • 2
    • 1

  • Venom Remix Project

    SolaraJohn BenjaminAleander and 1 more.

    My single VENOM is OUT! To celebrate the release, we've made the stems available for you to remix! Publish your final update by November 2nd to enter...

    • 8
    • 249
    • 1
    • 1

  • Copy Of Touchme-Help

    Hello Music Lovers....I need help with mixing down this track...I am struggling with the art of mixing.... either there's too much or too little, a...

    • 7
    • 222
    • 2
    • 2

  • Venom Remix Project

    My single VENOM is OUT! To celebrate the release, we've made the stems available for you to remix! Publish your final update by November 2nd to enter...

    • 9
    • 226
    • 1
    • 1

  • Moist - Me And You

    DEACTIVATE meSpedeIOMD and 1 more.

    The moment I heard the original, I felt the potential this song had to offer! Not a remix but more like a reproduction: On top of programming a new...

    • 41
    • 461
    • 0
    • 1

  • Anarchy (da Fingaz Remix)

    Upbeat, high energy remix with piano and synths. Enjoy!

    • 15
    • 368
    • 0
    • 1

  • Frasslane Feel Like

    Check out 'Frasslane Feel Like' & Remix It! Currently signed to Ranch Entertainment RSNY sees this as a great opportunity to get the exposure to...

    • 39
    • 622
    • 2
    • 4

  • Anarchy (da Fingaz Remix)

    Upbeat, high energy remix with piano and synths. Enjoy!

    • 13
    • 339
    • 0
    • 1

  • Moist - Me And You

    The moment I heard the original, I felt the potential this song had to offer! Not a remix but more like a reproduction: On top of programming a new...

    • 46
    • 444
    • 4
    • 5

  • Down South

    Jeremy LoopsSpedeMatthew Kinsella and 2 more.

    Allright! Here's my submission for this competition. This turned out to be a kind of 'greatest hits' of my antics in blend.io....

    • 28
    • 575
    • 3
    • 2

Explore

Software

00:00:08
Hey kids, we're backand now we're gonnatalk about somethingwhich is not directly mixingbecause we're never gonna hitplay and listen to audiobut it's everything else thathas anything to do with mixing.

Switched over to mac and unfortunately couldn't bring my beloved Sonar with me. Now i'm using Ho Tools 10. What I'm looking for is a song template where the tracked are alread bussed out to aux tracks for effects, figure it would save me a ton of time if one of yall could hook me up with a file. Download our FREE Pro Tools Vocal Template and start recording like a Pro today! I WANT BETTER SOUNDING VOCALS. I WANT BETTER RESULTS. Record, mix and master like a pro while sitting at home. Check out the Platinum Home Recording Course. CHECK OUT THE COURSE. I WANT IT DONE FOR ME. I always go to Modo at Pro Tools For Fools for my. May 14, 2010  Avid Pro Audio Community > Legacy Products > 003, Mbox 2, Digi 002, original Mbox, Digi 001. Are there any free mixing & mastering templates that I can download that have different genres other than the ones that comes with Pro Tools? I make mostly R&B, Pop, and some Hip-Hip. I save my personal templates in Pro Tools all the time, but.

00:00:20
That would be mymix template session,how I prep a sessionI'm sent that is to be mixedand how I import my templateinto that sessionso that when I start mixingI'm ready to start mixing asopposed to setting up.

00:00:34
I've managed to encapsulate allof my session set up processinto one little ballthat can be done very quicklyon any song that I get sentand it makes the songlook familiar to me andsound familiar to mein a certain way,and you'll see what I meanwhen we actually applymy template to a sessionwe're gonna open up later on.

00:00:54
The session I've got open right nowis my actual mix template.

00:00:57
So, this is a session that is savedon my start up driveso it's always available no matterwhat drive I've got hooked upfor the actual audio sessions.

00:01:05
So, I get a session from an artist.

00:01:07
It's got a bunch of audioit might have a million aux tracks,65.000 plug-ins,whatever it happens to beI will then import session data fromthis session into that session.

00:01:18
So, let's focus on what I've gotin my template.

00:01:21
There are basicallyonly Aux tracks,master tracks, and then I've gotsome placeholder tracks,which are actually Auxesat the bottom which we'll get to last,because they're muchmore about this session prepthan they are anything else.

00:01:35
Before I go down the actual track listI wanna show you something which isa big part of my sessionset up actually.

00:01:42
If we go to my I/O Setupand look at my busesI've got 16 outputs,it doesn't matter how manyphysical outputs I've got..

00:01:50
generally this will be remappedto whatever hardware ismapped when I firstopen up the session I'm gonna mixbecause this is being imported in.

00:01:59
But what's important isI've gotBus 1 to 128in the session.So, what that doesis it fills up the Bus A menu, thenstarting from Bus 129 are all ofthe Buses that I use in my sessionand they are actuallyin a very specific order.

00:02:17
So, I'm gonna take youthrough the Buses withinmy I/O Setup and then you'll seethose Buses all show upinside the template itself.

00:02:25
The first thing is everysingle bus thatI use in my template is named.

00:02:30
This is huge. As soon asa Bus is not namedit means that you've got a little numberin a little chicklet on the screenwhile you're mixingand you're not quitesure where that goes.

00:02:40
So, what I've done instead is usingnamed Buses.In this way once I importsession data intothe other sessionthis will populate the Bus B menu(and I'll show you what it meansonce I close this dialog)so that, my Buses are always in theBus B menu andthe Buses that were alreadyused in the sessionif any, are in the Bus A menu.

00:03:01
So, there will always be128 Buses in the A menunone of which are from my template.

00:03:07
Bus B is nothing but my Buses.

00:03:09
The very top Bus is called Mix Buss.

00:03:12
This is where my mix goes to.

00:03:14
Every track whether it goesthrough three Auxeson the way here, or not,going directly there outof the audio trackIt doesn't matter howit gets there but eventuallygets to the stereo Bus called Mix Buss.

00:03:25
That feeds the track inmy session that has all my2-Bus processing, which thengoes to an Audio track to be recorded.

00:03:31
Right below that is Rear Buss.

00:03:34
This is the sharedparallel compressor that isfor all the instrumentsin the mix. Usuallyexcept drums,although there's an exampleon the PureMix site where I actuallydid put the drumsinto the Rear Buss..

00:03:45
but this are the morecommonly usedBuses in my template andthis is why they're on top.

00:03:50
They would be at the topof the B menu for Buses.

00:03:53
Then from therewe actually start working downthrough the instrumentsin the order that they will appearin any session that I've set up.I always worktop to bottom:Drums, starting with kickending with room micsor miscellaneous mics.

00:04:06
Then percussion, then bass,then guitars and keysand those can actuallykind of switch placesI don't care whether keys comefirst or guitars come first.

00:04:16
That's more about howthe session is already set up.

00:04:19
Then after that wouldbe any other instruments.

00:04:21
So, if thereare strings or hornsor things like thatthat would come afterthe guitars and keys.

00:04:28
If there's a bunch of programmingthat would actually come somewhere upnear the drums.Either above or belowlive percussion.That depends on the session.

00:04:37
Just depends how it's set up.Then we getto lead vocals. Then we getto background vocals.

00:04:41
So, you'll see here thatI've got Kick, Snare and Crushdown to Fatso.

00:04:46
These are associatedwith drum effects.

00:04:49
and you'll see all of thesein the template in a second.

00:04:51
Then we get percussion.

00:04:53
They we actually geta Bus that is no longerin my template. I used to havea 'mono bass track' crush Auxand this Bus is just laid around.

00:05:01
So, I could delete it from my template.

00:05:04
and I just did. So, we'vejust updated the template.

00:05:07
Which is another important point,a little bit out of order here,my template getsupdated to the pointwhere it gets saved undera new name, at leastevery couple of months.

00:05:15
Basically I'll get sick of somethingor I'll build a new thinginside of a mix that I likeand I get sick of doing it over and overand as soon as I've done ittwo or three timesI'll decide 'you know what?I've got to take a second...

00:05:28
...close the song openmy template and makethe change permanent'So, after percussion you'll see thatthere's nothing specific exceptfor the vocal Buses nowand that's becausethere's no specificprocessing that happens parallelfor things like guitars, keyboardsstrings, horns.That stuff is all built on acase by case basis.

00:05:47
But the vocals I havesome very specificsstuff built, whichI'll show you in a second.

00:05:51
And then once you get down belowthe Background's Busnow we're into sort of genericstereo processing.

00:05:59
There's the stereo vocal crushwhich is only used on vocals butthen you've got Aphex, Slap, Spreadwhich are effects that are usedfor many different types of instruments.

00:06:09
It could be used just for vocalsbut it could alsobe used on guitars or ondrums. It could beused on anything.

00:06:15
Then there's a bus call Printthis is just a Bus that feedsthe audio track thatI'm printing the mix toso I would never assignsomething to print myself.

00:06:23
That's why it's down at the bottomand the you've got a coupleother Buses which are sort ofinternal to the routing of the templatebut I would almostnever be assigningsomething directly to them.

00:06:34
That way I don't need to go downto the bottom of my menuto find them.So, my most used Busesare the top of my D menuand then I go in orderby instrument so it'seasy for me to find things.

00:06:45
Now really quicklyI'm just gonna say Okand come out here,and you'll see that I've gota bunch of Auxes, things like that,I've got Auxes assigned to Mix Bussso this things will all godirectly to my Mix Buss.

00:06:57
I've got some sends herewhich we'll go through in a second.

00:07:00
I've got a few plug-ins that aresprinkled around the sessionand you'll see that there'ssome inactive plug-ins as well.

00:07:05
These are thingsthat are either alternatefor the active plug-ins orit's something that I don't always usebut I've used more oftenthan a couple of times, so I decidedlet me pop it into the templateso it's there an availablebut it's used, I would sayless than half of the time.

00:07:21
More than half of the timeit would be activeand I would go to the process ofdeciding whether or not I want itand then make it inactive if I didn't.

00:07:28
I'll go through the colorcoding in a second.

00:07:30
There're also a bunch of VCA masters.

00:07:34
Which are labeled with colorsand with groups of instrumentsthose would get assigned to groupsas it's part of the session prepbut they live in the session.

00:07:41
But the tracks inthe session flow downthe exact same waythose buses did. So from hereto here(to the VCA for drums)that's all drum's stuff.

00:07:51
Then I've got an extraVCA for programmingjust in case I have some,but there's no specific processing.

00:07:57
Then I've got an Aux for percussionan a percussion VCA,so there's very littlefor percussion but itdoes exist as an Auxjust in case and I show you whywhen we look at what that send is.

00:08:06
Then I've got VCAs for bass,keys and guitars.Again there's noprocessing involvedbut the VCA is made.

00:08:14
Then here we get backinto some actual processingand this chunk right hereis all of my vocalsand what I do is dropthis entire chunk of tracksin-between my lead vocals,which should be right above thisand my background vocals,which would go just below.

00:08:30
And the reason for thisis one: visually being ableto find all my vocals,being able to work in the balance ofthe lead and the background vocalsSo even if I've got 60 tracksof background vocalsrather than followingthe convention that I usuallyfollow, which you'll see later,of having the audio tracks abovethe processing andthe VCA that controls them,I've actually putthe background processingabove the background vocals.

00:08:53
So, if I'm doing a track with60 tracks of backgroundsI don't have to scroll downthrough them to getto the actual stuff that'saffecting the sound.

00:09:01
Then below that we get intothe effects that are those sendsthat were in my Bus menubasically in the exact same order.So, AphexRear Buss, 'cos I'm notgenerally needing to getto this Aux.The return from that Rear Busscan live anywhere. We'll go throughspecifically what is doingprocessing-wise in a bit.

00:09:20
Then I've got my vocal effects.So, reverb and slap.

00:09:23
The slap gets used, kind of,as it is quite a bit.

00:09:26
The vocal reverb is reallyjust a placeholderjust so I havea send to a reverb, butwhat this reverb iswould change up.

00:09:32
But I'll show you what's on it nowand maybe we'll even changewhat's on the template today.

00:09:36
Then I've got stereo vocal crush,which is a parallel compressor.

00:09:40
Then spread, which isan effect I'll show you in a bit.

00:09:43
Gets used on vocals quite a bit.Also gets used onguitar solos, anything that wants to bespread out and be pseudo-stereo.

00:09:49
Now we've got the twotracks that are the mainprocessors for the Mix Bussthere's a Master Faderthat controls the Mix Buss' Bus,so the Bus named Mix Buss.

00:10:00
And then this is theAux that actually hasall my 2-mix processing,which we'll go through in a little bit.

00:10:06
That is the only track in the sessionthat goes to the Bus called Printand then from the Bus called Printwe feed an audio track.This isthe only audio track in the session.

Free Pro Tools Mixing Template

00:10:17
The only reasonthis track is here is:If I get a session,generally there's a rough mix,or twelve, in the session.

00:10:23
So, there's a track that's hadthe mix printed to it already.

00:10:26
If that's the case,I'm not gonna even botherimporting this audio trackbut if there isn't,I've got so sickof creating stereo audio tracks,solo safing them,assigning the input and output.I though, well let me justput it in the templateso if I need itI can import it and there it is.

00:10:41
But because it doesn'thave any audio on it,it doesn't matter whatsample rate the session is.

00:10:46
I'm never importing audio.

00:10:48
So that's the placeholderin case there aren'tany rough mixes already in the sessionand it's where I'm gonna print my mix.

00:10:53
And then below that,are placeholdersfor my color code.

00:10:57
This is on the very rare occasionwhere I have somebody elseprep a session for me.

00:11:02
I can just send themmy template, which is tiny,fits in an email.

00:11:06
And they can see exactlywhat color I use.

00:11:09
So, if they're gonnacolor code drums,they can open up the color templateselect this track and seethat's the little chickletfor the drum color.

00:11:17
Here's what I use for percussion,here's what I use for bass.

00:11:20
I generally use darker colorsfor electric guitar,lighter greens for acoustic guitar.But all my guitars will be green.

00:11:27
Keys, they could bepurple for synths or sort ofdarker red for more organic keys,like acoustic piano,that kind of thing.

00:11:36
Then strings is a brighter red, butthese colors, because theydon't really get used all the time,I'm a little looser with what those are.

00:11:43
But drums, bass, percussion, guitarsthose have to be those colors becausethat's how I find thingsin the session.

00:11:50
Then lead vocal and background vocal.

00:11:53
So, that's my color codebut again I never importthese tracks into the session.

00:11:58
Before I go individually though,let me just show youhow the Bus menu looks.

00:12:02
When I open up my Bus menuI've got A and B,so Bus 1 through 128are just numbered Buses.

00:12:09
And again I've left these opened forthe client's Buses. Becauseno matter what Buses they've used,if they've named them,whatever they've done,they will overlaystarting with Bus 1, because that's theway Pro Tools works. When you importBuses into a sessionThey will leave namedBuses alone but it willfill up the menu from 1 to 128.

00:12:30
That way the secondpop up menu hereis my Buses, it's alwaysmy Buses and it's alwaysonly my Buses. It's a veryimportant part of session prepthat my Buses show up hereso I can always find them.

00:12:43
So, here they arein exactly the same orderthat we saw them before.

00:12:49
Very exciting. And you can see thatin the session they're all used.

00:12:53
I don't bother making Busesto name them and thennot use them. They're allset up as the input or outputof either a send oran Aux in my template.

00:13:04
So, let's start looking atwhat we've got for drums.

00:13:06
I've already talked aboutmy color code for audio tracks.

00:13:09
Drums is a very good place to talk aboutmy color code for my template tracksbefore we talk aboutthe actual processing.

00:13:15
So, one of the things about mycolor code is...

00:13:18
You'll notice that mostof the tracks in my templateare actually very bright colorsand most of the tracks in mycolor template, if you will,the little guide tracks,are much darker colors.

00:13:30
There's a really good reasonfor this in my mind.

00:13:32
Because I alwayslike my sessionsto have the clip colorbe the same as the track color.

00:13:38
And that means, as I'm quicklyscrolling through a sessionI see a bunch of green blobs,those are the guitars.

00:13:43
I wanna look at the audiothat's actually playingas opposed to haveto look at the track titleto see: 'oh those are guitars'or even to look atthe color of the trackonly over inthe state platesfor inserts and sends.

00:13:56
I wanna seethe colors in the tracks.

00:13:59
And I want that colorto be rather vibrant.

00:14:01
I mean the saturation and brightnessisn't that high in my templatebut I would say, you might saturateas much as this, to reallyget the colors to popand make them easierto see depending onhow your monitor's set up.

00:14:12
So what does mean isI want dark colors for audio.

00:14:15
Because they don't hurt my eyes.

00:14:16
Whereas for herethis is used for parallel processingand I use this very bright bluein the top row is all the brightestversions of the colorsin the color palette.

00:14:26
If I had a bunch of audiothat was this colorit would actually hurt my eyes.It's a lot to look at.

Pro tools

00:14:31
And I don't like havingreally bright audio.

00:14:34
So, I've got dark colorsfor audio tracks,which leaves me allof these very bright colorsthat are very easyto see as I'm scrollinglooking for a VCAI know it's the reallybright yellow thing.

00:14:46
What I've done isbright pink is for Auxesthat pass signal.

00:14:53
So, I would actually routeaudio tracks directlyinto these Auxesand then these Auxessend that audio elsewhere.

00:15:01
So, gives me a place to have sendsor processing on groups of instruments.

00:15:05
Then I've got my bright bluewhich for parallel processing.So I will only ever have a sendgoing to anything that's bright blue.

00:15:15
So, this could be parallelcompressors, but it's alsoif you look down at my vocal effects,it's also for reverbs and delaysthings like that.Anything you send tois bright blue. Just makesit easier to find for me.

00:15:26
Then I've got some left over Auxes fromlonger ago. And the reasonI've made new colorsfor my, let's say,kick, snare and drum Auxand my percussion Auxas opposed to the tom Aux,is just to separate in my mindnewer audio Auxes fromolder audio Auxes.

00:15:43
So, this is purely something for me.

00:15:45
It has nothing to do with workflowother than, I look for that bright greenI know that's where my toms go. 'Costhis has been in my template forever.

00:15:52
and I've only recentlydecided that I wantedto have some overallAuxes for the kick,the snare andthe rest of the drum kit.

00:15:59
And then we've got some darker tracksfor some Master Faders and I'll talkabout what those are doing later on.

00:16:06
The reason is because I almostnever need to get to these tracks.

00:16:09
So, I don't need them topop out as I'm scrolling around.

00:16:12
And if I do need themthey're right next to the thingthey are the master for.

00:16:18
And the thing they are the master foris one of the bright colors.

00:16:20
If I'm looking for the Rear Buss,I know it's bright blue.

00:16:23
and then right next to it isthe Master Fader for the Rear Buss.

00:16:26
I can always find it there.I didn't need to have a differentcolor that pop out forthe actual Master Faders.

00:16:32
It's more of a color that I don't needand I wanna make it sinkinto the background.

Pro Tools Vocal Template

00:16:36
And then the last one isbright yellow is for VCAs.

00:16:40
And you'll see when I actuallystart doing my session prep,I need every singleaudio track in the sessionto be part of a groupthat is controlled by a VCA.

00:16:52
That is so that I can solomy drums VCAand I hear every singletrack in the session that isdrums. It isn't necessarilyjust the drum kit.

00:17:01
It's the drum kit plusany drum samples.

00:17:03
If there's only a littlebit of programming,I'll lump it in with the drums.

00:17:07
And that way I can veryquickly solo and muteto hear things as I'm building outmy balance. I can also try like:'Hey, what happens if I just pullthe drums back a little bit?'And these will always be assignedto new groups that I makewhen I'm prepping the session.

00:17:22
'But, Andrew...'you might say'in your Ziggy Marley videosyou re-used groups...'...and you made a point to sayingwell, why do new work..'...if there's already a Busthere to cover the drums...'...then just go ahead and use it.'I've actually stopped doing that.Not too long after mixing that song,I got into trouble whereI was reusing a groupbecause I assumed that they hadassigned the group properlyand it turned out that the drum groupalso had some background vocals in it.

00:17:46
And I was printing instrumentalsand I still had background vocalsin my instrumentalI had to print them offline becauseit was an emergency thing for licensingand I've just decidedfrom now onmy groups controlled bymy VCAs are made by me.

00:18:02
So, I will make new groupsinside of the session, evenif they are all completely redundant,and then assign them to the drums.

00:18:10
And you'll see that process whenI actually import my templateinto a session later on.

00:18:14
Alright, so that coversall of the track typesexcept for these Auxeswhich are just for vocals.

00:18:20
These colors are random.They're just meant to be there.

00:18:24
I never really use red,so I use it for lead vocalsand this background coloris pretty closeto what I use for background vocals.

00:18:31
But it's a little bit arbitrary.

00:18:32
These are always inthe session in the same placeand I find the vocal tracks andI always know that these are theseSo I don't need a visual queueas I'm scrolling around.

00:18:42
Ok, so now what I wanna do istalk a little bit about the routingwithin the session,'cos it's actually quite simple.

00:18:49
Every single track that passes audiopasses it to the Mix Buss.So, thesethree Auxes, which will get the drum kitwill pass it to the Mix Buss.

00:18:58
All of the returns from my parallelprocessing go straight into the Mix Buss.

00:19:02
If you see here the tomsand the toms' verbgo into the drum kit Aux,which then goes to the Mix Buss.So...

00:19:10
these get split out a little bitbecause they're taking a pieceof the drum kit a long the way.

00:19:14
All this let's me do is EQthe toms as a wholeand get a hold of them to sendthem to some tom reverb.

00:19:21
Without having to set it up individuallyon the individual tom tracks.

00:19:24
All I've gotta do,is take my tom tracksfrom the actual session assignthem to the Bus called 'Toms'.

00:19:30
and now they have all ofthe drum routing they need.

00:19:33
So, this is two levels deep butthat's about as deep as we'll ever get.

00:19:37
Hear the rest of the drum compressors.They go straight to the Mix Buss.

00:19:41
Another drum distortiongoes straight to the Mix Buss.

00:19:44
Percussion, straight to the Mix BussLead vocal is slightly different.I'll take all my lead vocal tracks.

00:19:50
and assign them to aBus called 'Lead Vocal Bus'.

00:19:54
Then that splits into two Auxeswhich we'll talk about in a little bit.

00:19:58
Those two Auxes get combined toa Bus called 'Lead Vocal Combiner'.

00:20:02
I will never assign anythingto lead vocal combiner myself.

00:20:06
That's been done in the template.

00:20:08
I will only assign stuff to getinto these two Auxes.

00:20:11
But all that happens isthe output of these twogets combined downinto this one, which hasalmost no plug-ins,but this is where all the sendsto the vocal effects come from.

00:20:20
Then this goes to the Mix Buss.

00:20:22
Background vocalsexactly the same thing.

00:20:24
Background Vocal Bus isthe input to these two Auxes.

00:20:27
They both come out tothe background vocal combiner,which goes down to this Aux,which goes to the Mix Buss.

00:20:32
So, these are completely identicalsets of Auxes. Just one for the lead,one for the background,so I've got some control.

00:20:40
Down here are a lot of theeffects, as well as someother parallel compressors.

00:20:44
These are all goingdirectly into the Mix Buss.

00:20:47
And then down here I've got an Auxwhose input is Mix Buss.

00:20:51
So this is where the Mix Buss goes to,through my 2-Bus processing,to a Bus call Print.

00:20:57
Which goes to my placeholder mix trackwhose input is Printand it's output is 1 and 2.

00:21:03
'Cos I just listen to outputs1 and 2 mixing in-the-box.

00:21:06
That track is solo safed.

00:21:08
Now, before I forgetthere's actually onehidden track in the sessioncalled RX.

00:21:15
I use Izotope RX for spectral repairor the noise reduction quite a bit.

00:21:20
If I get bass whichhas ground hum on it orI'm trying to get rid of click bleed,in an acoustic piano track,from the headphones.

00:21:27
I'll use RX quite a bitand the way RX monitorsitself is now only a stand alone app.

00:21:33
So, you send audio to the appand then you'll hit playand they give youa plug-in called monitor.

00:21:39
So, this let's me listento the output of the appand I actually have thatgoing to the Mix Buss.

00:21:45
Because otherwisewhat will happen is, if I justlisten to the app goingstraight to the speakers,it's gonna be much quieterand it may be even hard to hearthe thing that I'm tryingto fix that's gotten so loudbecause of all ofmy 2-Bus processing.

00:21:59
So, this allows me to monitor thingsthat I'm fixing inan external applicationthrough the Pro Tools mixer.

00:22:04
So, this is there.It's solo safed.

00:22:06
It's always active.It goes to the Mix Buss.

00:22:08
But I don't ever need to see it.

00:22:10
And the thing is all takencare of, so as soon asI open up my Audiosuite plug-in,which looks like this,select some audio and say send,it's gonna switch me over into the app.

00:22:21
I get play in the app, I hear it.

00:22:23
So, that's the one hidden trackinside the template.

00:22:26
Alright, let's talk about audio.

00:22:29
I'm gonna start by goingthrough the parallel processorsfor the drums and thenwe'll come back to these Auxes.

00:22:34
'Cos the Auxes don't do much,except allow youto get to the parallel processorswhile grouping things.

00:22:39
I've got a couple of things that I useon almost every single mix.

00:22:42
So, I'm gonna start with those,even though that's notthe order everything is in.

00:22:46
The kick snare crush.

00:22:48
This is a parallel compressorthat's used on the kick and the snareand it's used on basicallyevery single mix I do.

00:22:56
When I assign anything to goto one of my parallel compressorsall I need to do,and I'll just go ahead anddo it on this Aux trackto show you how I do it,I just select that I'm taking a sendto a Bus that's called'Kick Snare Crush'.

00:23:11
I have my preferences setso that all my sends default to zerofollow main pan and they're post fader,so what that means isno matter how much EQ orinsert compression or distortionor sample triggering or whatever,that I do to, let's say, the kick drum,I'm taking a copy of thatpost all of the processingat whatever the balance isthat's heading off to the Mix Buss.

00:23:37
Picking up a copy of it and sendingit off to that parallel compressor.

00:23:41
That way if I re-balancemy kick in and my kick out micthat new balance is what's beingsent to the Kick Snare Crush.

00:23:49
I don't have pre fader sendsthat I have to rememberto mute later on whenI'm printing an acapella mix,and I don't have pre fader sendsthat I have to go changethe balance the same wayI just did on the main fadersand I don't have to rememberthat in the bridgeI decided to pan the kickall the way to the left but it's stillgoing to the center.

00:24:08
of my drum crush.

00:24:09
This way the send followseverything I dothat has anything to do with the mix.

00:24:15
Ok? Whatever I assignto Kick Snare Crushcomes down tothe Kick Snare Crush Bus.

00:24:21
and it goes into one of the simplestchains you can possibly have,which is the DBX160 VU.

00:24:26
This is what used in hardware sothis is what I use in software.

00:24:30
And I've got two versions of the plug-inon this track. I've got the UAD one hereand I've got the Waves onesitting in the wings.

00:24:37
And actually what we'll dois we'll save the templatewith the Waves one enabled now.

00:24:41
So, I've got two versions of it.

00:24:44
The one thing that the Waves version hasthat the UAD doesn't isa high pass filter on the side chain.

00:24:49
So, if I've got a very subby kick drumand I like that subthat can end up gettingvery messy and noisyin the kick snare crush,and the kick will dominate.

00:24:58
So, I can switch to the Waves one,if it's not already on.Hit thehi-pass side chain andnow all of the suddenthe compressor isn't lookingat all of that low end.

00:25:07
It still passes through andit's still in the compressorbut the detector circuitdoesn't look at it anymore.

00:25:13
Two versions of the same plug-injust over four to onethe threshold is set where,with how I normally have kicksand snares, which is pretty loud,that it will just tickle the thresholdso you'll go above on every transientbut you're never livingabove the threshold.

00:25:28
And then I don't use any of the noiseor the mix controls on the Waves versionand on the UAD version you don'treally have that option anyway.

00:25:37
That is the Kick Snare Crush.Gets used on almost every single mix.

00:25:42
Down here I've got twostereo compressors,which are used on pretty much every mixright now I actually use both of these.

00:25:50
So, this is the drum crush,which is the firststereo drum parallelcompressor that I've builtwhen I started mixing in-the-box.

00:25:57
And then there's the Fatso which I builtwhen I got bored of the drum crush.

00:26:01
That's something thathappens quite oftenwhere you start to hear the soundof the parallel compressor you usein the same way you would start tohear the sound of a tuning plug-inor anything that hasany kind of artifactor very specific sound to it.

00:26:16
And I just get bored of it or I startto hear that more than the benefitand I'll decide to change it up.

00:26:22
Sometimes I'll just go inand go to a new plug-inbut sometimes,like with the drum crush,I'll just think: 'Well, you know what?'Let me keep that aroundbut I'll build a new one.'So, I built a Fatso, whichI'll show you in a second.

00:26:33
Then I started to get sick of the Fatsoabout three months ago and thought:'Well, I need to build a new one'And instead of building a new one,because I'm so unbelievably lazy,I said: 'Well, what about that onethat's already in my template...

00:26:44
...that I'm not using?'And I started using that one againand then I started using both.

00:26:48
So, now I'm using bothparallel drum compressors.

00:26:51
There's no difference between themin my mind, in terms of one is doingthis job and one is doing that job,but they sound very very different.You need to listen for yourselfwhat parallel compressorsyou like on drumsand they just have different characters.

00:27:04
And there's no way to even reallycharacterize them 'cos it depends onhow much cymbal activity there is, howclean the drums are, that sort of thing.

00:27:12
Like differently, I supposedpossibly the drum crushis a little brighterand the Fatso is a little dirtierbut that's not always the case.Ok, so that saidlet's look at one ofthe very simple chains,which is the drum crush.

00:27:27
This is the Fairchild 670this happens to be the Waves model.

00:27:30
I have it in Left/Right modewhich means it's dual mono.

Pro Tools Mixing Templates Download Free

00:27:34
There is a little bit ofthreshold control which on aFairchild compressor isthe send to the detector circuitso technically it's a fixed thresholdand it's how muchlevel do you wanna hitthe detector circuit with.

00:27:47
Unity gain is basically around,12 on the input knob in termsof the audio you're gonna hear.

00:27:52
If you just have youroutput gain at zeroand your input gain at 12and you're not hitting it that hardyou should get about the samelevel out as you put in.

00:28:01
And I've got the setup to bea little bit of compression.

00:28:03
Now, how many dBs of compressionam I usually getting out of this?I almost never look at it.I would guess 4 or 5 dBsof compression,if it's a really loud drum kit.

00:28:12
It may be almost nothing. But that said,even if I'm not really compressingthere's still quite a bit of color thatcomes from any Fairchild emulationor any these sort of oldercrustier over-built compressorswhich would include somethinglike the Fairchild 670 or 660.

00:28:28
the RCA BA6A, the Federals,anything that was built for broadcastand was built in the 50s is gonnahave way too much electronics in it.

00:28:38
So that, rather than havingjust the right number of components todo the job they need to do electricallyanytime that you may have one tube,well let's use two tubes because theneach tube is working quite as hardor use both sides of the tubeto do the same jobinstead of splitting it up.

00:28:54
And what this means isthat you'd be goingthrough many more componentsin the signal path.

00:29:00
So, the magic ofthe Fairchild is not thatit's vintage and it's good-wiredand it's clean.

00:29:07
The magic is that it's far from clean.There is...

00:29:10
tons of harmonic distortionthat happens as you go through.

00:29:13
And even dynamics thathappen going throughthe input and output transformers.

00:29:17
They all have a transfer functionin terms of how theycan react the transients.

00:29:21
They have hi-pass and lo-passfilters built into them.

00:29:25
A transformer is a hi-passand a lo-pass filternow, the hi-pass is at about 5Hz maybeand the lo-pass is at maybe 20kbut that does affect the sound.

00:29:36
If you ever try to get kind of avintage sound out of an EQ.

00:29:39
add hi-pass and lo-pass to it,at very high and low frequenciesand you will find that all of the suddenit has a little bit morecharacter to it.

00:29:47
It's very weird how a lo-pass filterat 20k can affect the bottomof your kick drumbut it absolutely can andit's about the character. So...

00:29:55
this compressor has plenty ofcharacter and it also pumps.

00:29:58
even with the time constant set to 1which is the fastest releasetime you can have.

00:30:03
It's still relatively slow bymodern compressor standardsSo it's mushy and in parallelit brings up cymbals and it justhelps glue the kit together.

00:30:11
So, that's the first ofmy stereo compressors.

00:30:14
One thing I wanna point out is becauseI have all of my sends defaultingto being at zeroso they are the levels the drums are atand usually drums end upbeing balanced pretty loud,I've got the return of thisone at -6just because it was always too muchand I like the amountof compression I hadso I didn't want to turnthe input control downand just turning the output control downsort of felt like it should bemore like unity gainfor noise and gain structure,things like that.

00:30:43
So, I've just turned downthe return around 6dBI probably thought thisshould be exactly 6dBand in small track mode,even with the fine controlis tough to get exact numbers.

00:30:54
and I just left it at 6.2and down here there's some 6.2.

00:30:58
It's an arbitrary number but it's therebecause the drum crush was alwaystoo loud with all of the sends at zeroand there's no preference toset you sends to -6.

00:31:07
Next would be the Fatso.Does exactly the same jobas the drum crush in a totallydifferent way sonically.

00:31:13
So, it's a Fatsoturned out it's the Fatso Junior,so this is much more like the hardware.

00:31:19
The reason I use this iswhen I got sick of mydrum crush that I'd set upI thought: 'Well Ok, I've got toset up a drum crush right now.'And it was very daunting,because if you look atmy plug-in list for dynamics(I'm gonna look at Nativebecause there are more of them)I've got a lot of compression plug-ins.

00:31:38
I don't wanna go through thoseand try and find out whichone is gonna be good.

00:31:42
That's what I should do.I should go through all of themand see which one isthe best on a drum kit.

00:31:46
But the thing is it'll bebest on that drum kitthen I get a slightly differentdrum kit on the next songand I'm gonna have to tweak it.

00:31:52
And it takes probablyten mixes before I stoptweaking something that'snew on the templateand it settles in to a spotthat usually works.

00:31:59
And I just didn't wanna go through it.

00:32:01
So, what am I gonna usefor stereo drum crush?In hardware, whenI was mixing on a consoleI used the EMI TG1 in limit mode.

00:32:09
I didn't like the plug-in for thatas a drum crush,it was much too aggressive.

00:32:13
so that's how I ended up withthe Fairchild. That's what worked.

00:32:16
I thought: 'Well Ok, what elsehave I used when mixing?'Because I didn't always mixjust in my own studio.

00:32:22
And I thought back to '99 problems'and the only compressor I hadother the 1176 on the vocalwas the Fatso, that someonehad told me aboutsaid: 'Man, you gottacheck out the Fatso'Ok, I'll check out the Fatso'.And I rented it.

00:32:35
And I ended up bouncingall of the rhythmic elementsof '99 problems' through itback into Pro Tools andthen just un-muting thatin the choruses.So that was one of my firstkind of shared parallel compressionbeing used just to build the trackby only using it in certain sections.

00:32:51
And, I had to say OkI'm gonna make it work on the Fatso.So I opened up a couple of old sessions,got rid of the drum crush,put on the Fatso,tweak settings, I've actuallystarted offyou can see here withone of the presets.

00:33:03
I went through presets firstjust to try to get something close.

00:33:06
Then I tweaked it.This is what I ended up...

00:33:08
It's interesting.. is that...

00:33:10
when I had it in the template for yearsit was actually linked asa stereo compressorwhereas I'm documented saying 'I don'tlike the sound of stereo compressors'.

00:33:19
I have a feeling thatthe preset was linkedand I didn't notice and I didn't unlinkit and it worked fine for years.

00:33:26
Now I've unlinked it. I don'teven know if it's better.

00:33:29
So, this settings are not magic,there's just stuff that worked.

00:33:33
And like I said when somethinggets added to the templateyou always tweak it forthe session you happento be listening to,but your template is for every sessionSo, the first 5, 10,possibly 20 times you use somethingyou need to check it.Make sure it's coolMaybe try tweaking it a little bitand just see, and eventuallyyou'll find out that 'yep, that's agood starting point for everything'.

00:33:55
So, that's what thesettings are on the Fatso.

00:33:58
You'll notice the return fromthe Fatso was also at -6-ish.

00:34:02
It's at minus 6.6but then because ofwhere the input control waswhich isn't that high,it was still getting hit too hardand I didn't wanna changethe input control 'cosyou don't have to think ashard about gain structuregoing through a plug-in as you doa piece of outboard gear whenyou're using analogue gear,because you don't havequite the same noise floor.

Download

00:34:21
But when you're using,specially emulations ofhardware that'd been modelled,you do start to get some ofthose same gain structure issues.

00:34:29
Plus you kind of wanna bein the sweet spot of controls.

00:34:31
The pots that are used whenpeople are modelling hardwarethey are actuallymodelling actual pots,are not necessarily as well calibratedon the extremes of their range.If you can have a knobsomewhere in the middle60% of its rangeother than attack and releasetimes on compressorswhere you usually wannabe at adding extreme,you're probably in a spot where you getthe expected result as you turn the knobit isn't in this crazy placewhere when you've justbump it everythingchanges radically. So...

00:34:59
I like to be in kindof the normal range.

00:35:02
So, I decided to put a Master Fader onbecause this gives me controlof how much is getting into the Fatsowithout me having to opena plug-in windowand see what's going onwithout me having to remember I've gottalink the controls if they aren't linkedand turn down the input level.

00:35:19
While I'm mixing I can veryquickly just grab this Master Fadermove it around and go: 'Yep'.

00:35:24
'Ok, that's nice'.

00:35:26
And it's base just on what I hear.

00:35:28
So, since I had to tweakit a couple of timeswhile mixing a song,I decided 'let me justput a Master Faderso I can see it.'The other thing isI never ever look at the mix window.

00:35:38
So this is somewhat important in thatthe reason my template has all ten slotsof inserts open and all ten sends open,and the I/O pane and the comments'cos I never ever, everlook at the mix window soI need all of the informationabout my mix showing onthe screen in the edit window.

00:35:56
What that also means isI don't have a fadersitting there for every trackthat's really easy to seeor opening up plug-inwindows and I've gotreal estate where I can cover upsome sense for a bit.

00:36:07
I'm always covering up audioor other mix information I need to see.

00:36:11
So I don't like to leave a lotof floating windows openso what this gives meis a way to instantly with one clickaffect the amount of levelgoing into the Fatso,which is something that I used to tweakmore often that I do nowbut if I have to tweak itmore than once a monthI want it sitting there on a faderthat is gonna pop up and be seen.

00:36:30
So, that's why there'sa Master Fader herebut there isn't a Master Faderon the drum crush.

00:36:35
For whatever reason I don'treally ever have to tweakthe drum crush.It just seems to work.

00:36:39
So, those are my threemain drum compressors.

00:36:43
Then I've gotfour things for the drums, which aremuch more specialized and usedon more of a case-by-case basis.

00:36:51
So, the last stuff onthe drum side of things, andwe're gonna start cranking after that'cos I've got lots ofprocessing for drumsand lots for vocalsand that's kind of it.

00:37:01
But bear with me,I've got a specialty thing.A Devil-Loc.

00:37:05
This is in fact the Devil-Loc plug-in.

00:37:08
This is every once in a whileI want kick and snareto sound lo-fi drum machine-y.

00:37:13
Snare reverb. It's setup in the session,it's here in case I want it.

00:37:18
It's got a gate to letyou gate out bleedso that only the attack of thesnare drum gets into the reverb,and then it is a verygeneric ambient reverb.

00:37:28
It's not natural sounding at all.

00:37:30
It's relatively short.

00:37:31
It's just for length on thesnare drum and you won'thear this. This is not likea gated reverb thing.

00:37:37
It's not even meant tobe a natural room sound.

00:37:39
All this is, is sometimes,once the cymbals are goingand the guitars are cranked upthe snare just sounds dry and short.

00:37:46
This will let the snaresound more like the drum kitwhen you solo the drumsafter you drop everything else in.

00:37:53
I'll also use this quite oftento build the track. It will only bein the choruses of a song.

00:37:58
Let's say. Straight up reverb,it goes straight to the Mix Buss.

00:38:02
Next we've got toms.

00:38:03
So, I will route howevermany tom tracks there areinto this Aux.

00:38:08
What it gives me is plug-in for EQ,that's normally by-passedbut if I feel thatI wanna EQ the toms this isa really good starting point.

00:38:16
It's some broad 5k forthe attack of the tomsand then some lo-end for the floor tom.

00:38:23
I would say I use the EQaround half of the time.

00:38:26
There's an L2 bringing them up'cos toms always need to be louder.

00:38:29
They just do. By the timeI've gotten the drum kit slammingthe toms have got to be ridiculously loudto come through, so there's 4dB of gain.

00:38:37
It's really what that's used forso I'm not looking for the soundof a limiter I'm just looking for gain.

00:38:41
But I wanna do it in a way where I'm notdistorting everything on the way pass.

00:38:44
And there is also a sendto a tom reverb.

00:38:48
So, this tom reverb is very much likethe snare reverb.It's just meant to makethe toms feel bigger.

00:38:55
You're not gonna hear this reverb.

00:38:56
I built it kind of like asa joke on a sessionwhere I've taken a filter to get rid ofall the unwanted cymbalbleed in the tomsbecause there will always becymbal bleed in the toms.

00:39:06
Because that's what getshit right after the tom80% of the time and you don'twant that triggering your reverb.

00:39:12
Then I go into basicallya tweaked versionof the snare reverb.It's a little bit longer.

00:39:18
Then, there is a pitch-shift on it.

00:39:20
So, this is a chorused reverband this was sort of a '90sStadium' tom effect andyou would really hear this.

00:39:27
So, I built it on something I was mixingalmost as an 'homage'and then realized that if turned it downit actually was just helpingthe toms be big.

00:39:37
And then I thought:'Well Ok, I just use the reverb',get rid of the chorus andthey weren't as big anymore.

00:39:41
Because toms have so much pitch to themthat little bit of chorus on the reverbjust spreads them outand makes them massive.

00:39:48
And on really heavy songs this iskind of the difference between the tomssounding gargantuanand then sounding big.

00:39:54
And I'm always going for gargantuan.

00:39:56
So, the output of both of these tracksthen goes into the drum kit Aux,which we're gonna havea look at in just a second.

00:40:04
The only other track left is 'drums dirt'.

00:40:07
This is...

Pro Tools Mixing Techniques

00:40:08
something which we're actually gonnatweak the template on today.

Pro Tools Template Torrent

00:40:10
So, I decided I wanteda parallel drum's distortion.

00:40:14
Normally I like Sansamp for distortionbut Sansamp is not phase coherent.

00:40:19
For whatever reason there's somesort of crossover network in therefor the different types of distortion.

00:40:24
and if you put it parallel and bring itup everything starts to sound phasey.

00:40:27
So, I though: 'Well Ok,I start with some lo-fi'That will be good andit's really subtle.

00:40:32
And then I'm going into a trashed tube.

00:40:34
This is the least subtle thingin the entire template.

00:40:38
This is smashing thehell out of everything.

00:40:40
So, before we look at the settingsof this particular plug-inI'm gonna go aheadand get rid of the lo-fi.

00:40:46
I don't need it, it's not addinganything to this picture.

00:40:49
This Trash 2, it probablystarted from a presetof something, but there is a filter,there's trash and there are dynamics.

00:40:59
I was just looking for somethingthat was really blown up.

00:41:02
So what this sounds like,when you listen to itis a very distorted room mic.

00:41:08
What it feels like when youblend it in with the drum kitis 'Wow, my drums are bad ass'.

00:41:14
It gives them power that youdon't get without this distortion.

00:41:18
I don't know why it worksas well as it does.

Pro Tools 12 Template Download

00:41:21
When you listen to it on it's ownit sounds terrible.

00:41:24
When you blend it in withthe rest of the drum kitit really makes the drum sound great.

00:41:28
It's down at minus 14.5because of how much levelwill come out. It also hasan unbelievably broaddip in the mid rangebecause it gets rid ofall of the cymbals that have just beenmade unlistenable by all the distortion.

00:41:43
So, this is all aboutmid-range and lo-end.

00:41:46
And by mid-range I mean below 1k.

00:41:49
It's kind of low to lo-mids.

00:41:51
And the higher mids ofthe cymbals are goneand then I'm letting whatever airthrough might have been therejust for a little bit of extracrispiness on the drum kit.

00:42:00
It's turned way down. It is also setto show me mute automation.

00:42:03
This will almost never be inall the way through a song. It'llusually just be on in the choruses.

00:42:08
And rather than mute the send to itit's just as easy to mute the return.

00:42:14
Because it doesn't have any sustainto it, so it doesn't matterwhere I actually do the mute.It's gonna sound the same.

00:42:20
And this way by, let's say,its drums cut to a grid,I can just go to grid modeand with my grid set to one barjust start slamming muteautomation points in thereand now this will turn onthe chorus and turn off.

00:42:33
I can also drag this track upright next to the kick drumand be very meticulous aboutwhere those break points are.

00:42:38
I don't need to seethe volume automation on thisbut I usually will automatethe mute automation,so I leave the trackshowing mute automation.

00:42:46
Just means one less click later onand I can see it at glanceif this is on or off.

00:42:52
Then, next to it is the drums VCA.

00:42:54
That is all of the sort ofdrum processing stuffbut I've also got three AuxesI built for the drum kit.

00:43:01
I used to have nothing.

00:43:03
Drum tracks will all gostraight to the Mix Buss.

00:43:05
Then for a while I started havinga stereo drum kit Auxbecause it just made lifeeasier, if I'm gonna sendevery single drum track to the drum crushand the Fatso,why not just have one sendthat's post everything on the drum kit?And it also means that if I wannajust add a little bit of EQto the drum kit orcompress it a little bit,just because it's almost therebut not quite,I've got one place to do itinstead of havingto figure out whatI'm gonna do later on.

00:43:31
Or worse, change the routing.

00:43:33
I don't want to changethe routing once I've set it up.

00:43:36
So, I had a drum kit Aux.But then I realizeI don't always want the kick and snaregoing to the stereo drum compressorsbecause what that can dois make the cymbalsstart sucking backwards because they'llget pulled down in the drum compressoreverytime there's a kick or a snare.

00:43:51
And I need the cymbals tostay up and be constantbecause otherwise it cangive the impressionof the mix being crushed too mucheven when the mix iswide open, just becausethe cymbals get that extra pump.

00:44:02
So, I got lazyand in my non-lazy part of being lazyI decided: 'Let me finally just makemyself a kick Aux and a snare Aux.'And the first time I madethem they were monoand then I mixed a song thathad stereo snare sound.

00:44:14
Ah! Open up the templateand make them stereo.So now, I've got a stereo kick Auxand a stereo snare Aux.

00:44:21
and they have sends that go tothe kick snare crush.

00:44:25
My drum kit Aux has sends that goes todrum crush and Fatso,and that's it, that's all set.So, whatever my drum balance isit automatically gets toall of the parallel stuffthat needs to be there all of the time.

00:44:37
Then on the kick and snare AuxI have inactive sends tothe drum crush and Fatso,so that they're readyto be put in if I want them.

00:44:46
I've also got inactive sendsto the drums dirtif I want them.

00:44:49
And I've got an inactive sendto the snare reverb if I want it.

00:44:53
Now, all of the sudden with my drumsI never even go to the bus menu.

00:44:58
Every single bit of drum routingI might ever need to dois taken care of by the templateand all I need to do isselect my kick trackput it to the kick Aux.Snare to the snare Aux.

00:45:08
Rest of the kit to the drum Aux.

00:45:09
Make a group of all the audio tracks,assign it to the drums VCA.

00:45:13
I am done.

00:45:14
I will never do anything else,housekeeping ormix routing-wise to my drums.I'm just listeningand doing balances andmake stuff sound good.

00:45:23
That's the drums.

00:45:25
I mixed a recordnot too long ago that hadprogramming on every song.I got sickof making a new VCA for the programmingsso I added one to the template.

00:45:33
That's all there is for programing. Whoknows where it needs to go through?Percussion. This Auxis actually kind of a leftover.

00:45:41
I used to put a little bit of Aphex,which you'll see what that effect is,percussion all the time. I just did it.

00:45:47
Shakers, congas, theyall seem to benefit from it.

00:45:50
Now I don't like it as much.

00:45:52
So, it doesn't happen as often.

00:45:54
I leave this in the templatebecause if I ever haveany percussion that doesneed a little bit of AphexI don't have to set up a senddown an individual tracksthat need to go there.

00:46:02
I can just quickly pop itinto the 'Perc 1 Bus',listen to it, if it's cool leave it.

00:46:07
If it isn't I can go aheadand take it off.

00:46:10
Also, if I've got let's say congason three tracks and I want to dosome overall EQ to the congas.

00:46:16
I can just quickly put the congasinto the percussion Auxand if I don't likethe Aphex, mute the sendand then now I've got a placewhere I can EQ the congas.

00:46:25
It's kind of a placeholderfor doing processing.

00:46:27
And then I've got my percussion VCA.

00:46:30
Then for the rest of the instrumentsthat usually show up(bass, keys, guitars)just have a VCA. There is no processingthat I always do to those tracksother than sending tothe Rear Buss which we'll look at.

00:46:41
But that gets done fromthe individual tracks.

00:46:44
Then we get down into vocal-land.