hi all,
 
what a great learning experience this time around with Sonar Platinum.
it has been YEARS since i've done any serious recording. Techno advances are boggling.
 
i spent the last week setting things up for just capturing simple rhythm sections.
Drum loops with recorded bass and guitar.
 
without getting TOO deep into the plugins i've selected so far, i have found placing EQ, Compression, and Reverb as FX on separate stereo bus's'ss and using the recorded channel Aux Send gives me LOADS of flexibility.
 
i still have the "dry" track and i can mix in how much i SEND to the FX as well as the bus'ss'ss's fader level.
 
i used to do this in the olden days with analogue recording. lots of effects and aux sends. custom mixes to headphones and studio, etc...
 
so i've included a screenshot of a simple loop drum track and the routing.
any comments would be appreciated.
 
on the plugin side of things, i REALLY like the Variety of Sound line of free plugins. FerricTDS and BootEQII are pretty nice.
 
have a great weekend.

AND, i am FINALLY getting a grip on the whole Mid-Side thing.
 
so far, i MUCH prefer a nice tight reverb when applied slightly to the Sides in a final mix.
 
maybe... i may have it all wrong. but it doesn't sound so overwhelming compared to slamming the stereo field with a 'verb - more natural.

Most (not all!)) of the time it makes sense to use a bus for anything that adds something to the sound (like a reverb) but an insert for something that alters/distorts the source (like EQ/compression). A compressor has limited use if you are not actually compressing the source but only adding a compressed version alongside the original (called parallel compression). It's a cool effect though. Likewise, removing low end rumble from a source won't work if you have the original track running alongside the effected signal. 
 
That's the only "critique" I can think of, for the rest, if it sounds good, it is good. Happy mixing! 

great sutff!!!
 
exactly the kind of comments i am looking for.
 
i like the reverb send.
 
but it makes sense about the EQ and Tape saturation plugins (each have some form of comp/limiting built in)
parallel processing, eh?
 
wow, i'm SO sophisticated and i didn't even know it. i'm swinging for the bleachers here.
 
but simplicity is key. i will most likely go back to the EQ and Comp on individual channels.
another great point about removing the low end rumble - my OP approach kind of defeats that purpose.
fighting itself.
 
i will check out parallel comp/EQ/processing. i can see how that may be a neat effect.
 
thanks!
fred

just did a search on parallel compression:
 
https://en.wikipedia.org/wiki/Parallel_compression
 
pretty cool actually. i may investigate this some more.
 
a couple of excerpts:
 
Parallel compressionFrom Wikipedia, the free encyclopedia
 
Parallel compression, also known as New York compression, is a dynamic range compression technique used in sound recording and mixing. Parallel compression, a form of upward compression, is achieved by mixing an unprocessed 'dry', or lightly compressed signal with a heavily compressed version of the same signal. Rather than bringing down the highest peaks for the purpose of dynamic range reduction, it reduces the dynamic range by bringing up the softest sounds, adding audible detail.[1] It is most often used on stereo percussion buses in recording and mixdown, on electric bass, and on vocals in recording mixes and live concert mixes.[2]
 

Use

The human ear is sensitive to loud sounds being suddenly reduced in volume, but less so to soft sounds being increased in volume—parallel compression takes advantage of this difference.[2][3] Unlike normal limiting and downward compression, fast transients in music are retained in parallel compression, preserving the "feel" and immediacy of a live performance. Because the method is less audible to the human ear, the compressor can be set aggressively, with high ratios for strong effect.[2]
 
 
i like it!!!

i've been shying away from compression just for what they describe above.
 
i think P/C may be my new fave technique.
 
but regarding the LOW END RUMBLE issue, Sanderxpander you are completely right.
for my task, the BoostEQII should be on the channel itself.
 
fantastic!
 
great group!
 
 
 

Hi. There is nothing wrong with the way you do it. To repeat what Sander said. If it sounds good, it is good.
I usually output my drums to a drums bus. If I use / want parallel processing, I use a send from the drum bus to a "parallel drum bus". But that is just me. You have really been going at it lately, Frederic Keep at it, and make music.
All the best.

hodshonf
i've been shying away from compression just for what they describe above.
 
i think P/C may be my new fave technique.
 
but regarding the LOW END RUMBLE issue, Sanderxpander you are completely right.
for my task, the BoostEQII should be on the channel itself.
 
fantastic!
 
great group!
 

Sounds like you are having a lot of fun there hodshonf!
 
FWIW,  as exciting as new toys and advanced techniques are,  compression is so fundamental to production it may be a good idea to spend some time on basic techniques and really understanding the tools and techniques before jumping headlong into parallel compression.  It pays huge dividends in the long run.  A mix can get away from you very quickly otherwise.
 
Happy recording:) 

yes indeedy.
 
i have been spending time with various compressors.
what's so great about the latest raft of VST comps, is the graphic displays on many of them.
 
great learning tool. compression was always somewhat of a "black box" processor for me.
 
until this time around.
i started experimenting with some simple comp plugins, and whoomp... wow.
truly does make sense now.
 
i was getting in deep with the multi-band compressors for a sec, since i wasn't so keen on "straight compression". not for what i am looking for with my projects.
 
talk about something "getting away from you".
 
i know it seems "deep endy-ish" to move so quickly into parallel comp, but i really like the blend of the original material with the comp bus.
 
...
 
i'm sure this will change when i wake up tomorrow and listen to this stuff in my car!
HA!
 
 
hope you guys don't mind me sharing my "notes from the field".
 
fun stuff. and yes, it's all about the music.

interesting!
 

Instant Parallel Compression!

Parallel compression is a technique that, traditionally, splits a track to an effects bus that includes a compressor, which is mixed back in with the track's unprocessed sound. This is most often used with bass and drums so that the dry signal can provide dynamics and transients, while the compressed signal can bring up softer sounds and add more punch or sustain. Many engineers use parallel compression to give a full, big drum sound, but without destroying dynamics.
 
Both ProChannel compressors provide parallel compression via a wet/dry control that's continuously variable between zero percent compressed sound and 100 percent compressed sound. In between, at settings in the 30 percent to 50 percent range, you'll hear useful parallel compression effects. One side effect of using parallel compression is that the compressor settings can be more drastic than would be desirable if you were using the compressor by itself, because the dry signal will preserve the signal's dynamics.