What is a bus channel

what is a bus channel

Using bus sends and aux channels in Logic Pro X

Jul 07,  · A buss is an output channel on a mixer that has collected all the audio from any channel that is sent to it. For example, If you have a channel mixer, there will be a channel strip for each of those 16 channels. Essentially, a bus is a channel or path between the components in a computer. And having a high-speed bus is as important as having a good transmission in a car. By Jeff Tyson & Ed Grabianowski How IDE Controllers Work.

There is a term in audio recording that is a bit confusing go figure to a lot chanjel folks who are not immersed in in the audio or electronics world. Oh, who am I kidding? There are scads bu those terms. That is part of the why Hwat Brew Audio exists - to translate the techno-lingo into the common speech:.

But the term I refer to today is "bus", also sometimes spelled "buss" or mixer busthough that just confuses the issue even more. But I digress Really? Anyway, the term, as so what is a bus channel are, is a left-over from the analog days when physical mixers were necessary in audio recording hint: they are no longer necessary in computer recording.

A buss is an output channel on a mixer that bux collected all the audio from any channel that is sent to it. For example, If you have a channel mixer, there will be a channel strip for each of those 16 channels. The "master" channel is actually a bussbecause it takes the output of all the channels how to burn cd on windows xp the mixer and outputs them to your speakers or headphones, os.

All channel strips on mixers are usually sent there channl default. But you can also choose other busses to send these channels to. For example, there is usually an auxiliary often abbreviated as just "aux" buss knob on each what is sonar code quality strip which lets you send the audio on that channel to the you guessed it the auxiliary buss on the mixer.

Then the aux buss will output all channels sent to it, and only those channels. Regardless of how many busses are present on a mixer, there will always be a master-level control somewhere on the board. For example, there will be a "master" strip for the master buss, and there will also be a master Aux section often not a strip, but a section at the top of the mixing board with an aux output and input and level control.

There are other types of busses and even other names for the ones I described. For example, sometimes the aux buss is what is a bus channel the effects buss. But at the end of the day, the only thing you need to know is that a buss combines signals from several other places on a mixing board. We use the same concept on non-physical computer mixers nowadays, which are almost always designed to mirror the way a physical mixer works, though we have a lot more flexibility to what is a bus channel our own nus busses to create groups, submixes, and any combination of inputs and outputs.

You caught me! I just casually used a term like everyone in the world knew what it meant. Mea culpa! I promise to come up with a suitable punishment for myself. But first - the submix thing. What is a bus channel, let's say you have recorded a song with a guitar, a bass, a lead vocal, and 6 harmony tracks I like to have each harmony part sung twice; so 3 harmony parts will need 6 tracks.

I know! Awesome huh? Then let's say that I want reverb on all 6 of those vocal harmony tracks. I could go to each track separately, ubs set how to use a bodum french coffee press a harmony effect on each one. Doing the same thing 6 times. Wouldn't it be cool if I could just set up the harmony effect once, and have all the harmony tracks share it? Hint: the answer is "yes! Just create a buss track, set up a harmony plugin effect on it, and then route the harmony tracks through that buss, and they all share like good little harmonies.

The one on the buss track where they are sharing a reverb note to the techies - chajnel would want to disable the direct sends from each harmony track to the Master buss first.

One track to rule them all! Now isn't that useful? It is. Hopefully this information will allow you to put another seemingly baffling audio term into your vocabulary. Thank you for that I am only just getting into recording at the age of 70 so the simple explanation's are welcomed, still trying to get my head round wuat one 3 artist. Thanks again.

You're welcome Peter! Never too late. And yes, I try my best to explain this stuff in regular-people-speak Thanks for the whhat Hi Ken, thanks for the to-the-point explanation. Turns out I've been using buses for years, but my software and mixer use different terms. Just had the wool pulled off my eyes here! Bbus that short for something? An old electronic component, maybe Turns out, it's short for the Latin ia "omnibus" meaning "for all" or "for everyone".

It's why school kids all get on a bus; same as our audio kiddies all grouping into a bus. This, instead of an obscure component or acronym, makes the purpose much easier to remember. Those wgat calling it a "buss" are just throwing laymen bud the trail! You're welcome, Paul! Yeah buss terms seem almost designed to be confusing.

Makes sense since really it just means "grouping. With digital nowadays, you just decide how you want to group your stuff and just do it. It's a good time to be recording audio Is it possible to play my music to these jacks through an adapter?

I still havent tried it as I want the input of someone else before what is a bus channel so. Many thanks! Sounds like ti would work. Your email address whqt not chanbel published. What is a Bus in Audio Recording? Updated On. Channel strip on a mixer.

Auxiliary send on a mixer. Leave a Reply Cancel reply Your email address will not be whay.


A Bus Channel is a volume control for the output of a bus, and it's also a way to insert effects directly on the Bus! In Figure 4 we see several interesting things, starting with the signal flow. The Bus Channel is positioned at the end, or output, of the Bus itself, and here we . Apr 09,  · Bus (also spelt buss) sends and aux channels are an essential part of working with Logic’s mixer, covering everything from custom headphone mixes through to reverb and other forms of ‘parallel’ effects processing. Like many aspects of Logic, though, it’s easy to overlook the full functionality of what buses and aux channels have to offer, or indeed, the various new features that Author: Mark Cousins. Jun 03,  · The audio output of multiple channels can be routed directly to a single Bus Channel, which is always a stereo channel. This lets you create a submix so that the audio from several channels can be processed together before being routed to the main output. Although less common, it is also possible to use sends to route audio to Bus Channels.

In this tutorial, we explore their full functionality. This contrasts with the application of an effect such as EQ that is placed as an insert across a single channel strip. When you create a bus send, Logic will create an accompanying aux channel, which becomes the destination point for all the respective bus sends.

Effects like reverb or delay then inserted on this aux channel will be applied to all the instruments using the bus sends, at an amount defined by the bus send level — the greater the bus send level, the greater the amount of effect. One useful feature for setting the amount of effect applied is the Sends on Faders option.

Rather than setting the effect level using the small bus send controls, Logic flips the main faders so that they work as the send levels.

Obviously, the Sends on Faders option makes it much easier to fine-tune precise send levels between -1dB and In the case of reverb, for example, the fader almost becomes a means of pushing the instrument further back in the acoustic space — the higher the fader, the further from you the instrument becomes. Moving beyond the application of reverb, bus sends can perform a range of additional production and mixing tasks.

First of these is the lost art of dedicated headphone mixes, where musicians hear a distinct and separate version of the track to the monitor mix heard in the control room.

A singer, for example, might need to hear their vocal loudly in the mix, or a piano-heavy mix to help with their intonation, whereas the control room will usually want to hear a more musical balance. Adjust the send levels accordingly. The use of bus sends for headphone mixes highlights the difference between pre-fader and post-fader bus sends. In the example of reverb, the bus sends default to a post-fader application, so that the reverb is applied after the fader level is established.

Turning down the instrument in the mix, therefore, will result in correspondingly less reverb being applied. With a pre-fade headphone mix, the bus send works ahead of the fader, so, irrespective of the fader level in the main mix, the musician will hear their mix at a consistent volume level.

Another interesting use of buses is the application of effects like compression as send effect — or, in other words, parallel compression. This is a good example where both pre- and post-fade setups have their merits.

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. Attenuating the instrument in the mix will then reduce the amount of parallel compression.

Listen to the results in the context of the mix. Notice how the loudness and body of the drum track changes, even with relatively small amounts of the parallel compression bled back into the mix. Open Project 2 so that we can explore cue mixing. Create a pre-fade bus send for all tracks. Create another set of pre-fade bus sends, which will be for our second cue mix.

Click on either bus send and from the drop-down menu select Copy Fader to Send. This will duplicate the current monitor mix for either of the musicians depending on the bus you select, of course.

Using the Sends on Fader option is a quick way of checking and adjusting each of the cue mixes using the main faders. Adjust the balance to extract the best musical performance from either musician.

The singer might want to have reverb to help with their intonation. Create another pre-fade send from the vocal channel, instantiate a reverb on the new aux channel, and then create a pre-fade bus send from the reverb. The reverb level heard by the singer can be adjusted using the send level on the aux channel.

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5 Replies to “What is a bus channel”

  1. Rey nbows OMG THANK YOU SO MUCH i couldnt find anything to help and thought i was tripping balls lol

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