Hi guys,
 
I know I can switch the sends to be pre- or post- fade, but is it possible to make the sends pre- FX bin. The signal flow diagram in the documentation shows them as post.
 
Thanks,
 
Martin

You're right: the fx bin is always in the signal path; only the volume control can be bypassed. 
 
If you want, say, a dry send for a headphone cue mix, you therefore have to avoid track inserts, or at least bypass them temporarily while tracking.
 
This isn't really a problem, at least not normally. It's one reason we use busses for reverbs and delays rather than inserting them directly into a track.

Thanks bitflipper... Yeah it's not the worst thing in the world, but because I'm using a full orchestral setup with several different sample libraries, I have LOADS of buses as it is for room placement. For example, the trumpet buses (not including tracks / Kontakt outputs) are:
 
- TRUMPETS [VSL]
- TRUMPETS [FANFARE]
- TRUMPETS [PROJECT SAM]
- TRUMPETS Early Reflections
- TRUMPETS Late Reflections
- TRUMPETS MIX
 
What I really wanted to do was place a delay on the first 3 buses (to simulate distance from the mic position: 1ft = 1ms and all that nonsense), without affecting their sends to the early and late reflection reverb buses. I'll just have to add another summing bus after the first 3 to put the delay on... It'll just add another 24 or so buses to the template - not a problem, I just like elegant solutions and this seems like a workaround! Never mind! :)
 
Thanks for the help!
 
Martin

Moderato Maestoso
... It'll just add another 24 or so buses to the template - not a problem :)
 

That's the spirit!
 
"Just" add another 24 busses ...my goodness, you sure put a lot of thought into reverb.
 
So the idea is that the "close" group gets a short delay separate from the reverb sends? Wouldn't that make it possible for your "late" reflections to arrive before the direct sound?
 

bitflipper"Just" add another 24 busses ...my goodness, you sure put a lot of thought into reverb.

 
For someone who has Nyquist as their signature, I would hope for some solidarity from a fellow pedant
 

bitflipperSo the idea is that the "close" group gets a short delay separate from the reverb sends? Wouldn't that make it possible for your "late" reflections to arrive before the direct sound?

 
I separate the early reflections from the reverb tail, and apply different ER/LR values for each orchestra section. This is then complicated by the fact that I mix separate sample libraries (which often require different ER/LR setups, depending on how wet/dry they were recorded). The direct sound I delay by 1ms per foot, but I always make sure the direct delay is less than the ER or LR predelay.
 
:)
 
M