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Is It Possible To Rename Buses In The Mixer?

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by Surf.Whammy on Fri Mar 27, 2015 12:21 pm
DaddyO wroteIs It Possible To Rename Buses In The Mixer?


No . . .


THOUGHTS

There are several reasons for not allowing buses to be renamed:

(1) The general rule is that buses are called "buses" . . .

(2) If the names of buses were changed, then the {A, B, C, D, E, F, G, H} rotary buttons on the individual instrument channels would not be mapped correctly to the respective new bus names, which would increase confusion, since there is no space to do this . . .

However, if you are using NOTION 5 with a Digital Audio Workstation (DAW) application in a ReWire session, you can name the ReWire tracks in the DAW application as you desire, where for example if you have violins and violas routed to "Bus A" in the NOTION 5 Mixer and the "Output" of "Bus A" is "6L+6R" (a.k.a., "Ch. 11-12"), then in the DAW application you can name the recipient to "Mid-High Strings" or whatever name you desire . . .

Another strategy is to establish a bus usage standard, where for example you always use "Bus A" for violins and violas, in which case you can write the names on a note card and tape it somewhere for use when you need a reminder . . .

REWIRE STRATEGY AND "DUCKING"


Nevertheless, if you need this level of control over the names of buses, the ReWire strategy is the most logical, because the primary use for buses is (a) producing and mixing rather than (b) composing, and the fact of the matter is that producing and mixing is best done in a DAW application . . .

I do not use buses in NOTION 5, but I use buses in DAW applications, and I do submixes of various sections, which makes it possible to replace a set of tracks with a single stereo track . . .

The other use for buses in a DAW application is to send a copy of the audio to a "ducking" compressor-limiter where the bused audio controls the level of "ducking" and generally is called the "side chain" source, where for reference "ducking" is a technique where the volume level of one thing controls how much or how little the volume level of another thing is changed in response to changes in the side chain source, with one example being that you want certain instruments to be lower in volume when there is singing, so you send a copy of the audio for the singing via a bus that becomes the side chain source to one or more compressor-limiters which are configured to do "ducking", and when there is singing the respective instruments are "ducked", but when the singing stops, the respective instruments return automagically to their "non-ducked" levels, which when done smoothly is not noticed by most listeners, trained or otherwise . . .

As an example, the three electric lead guitars in the "Wall of Guitars" in the following version of "Why Tell Me" (The Surf Whammys) are ducked based on the volume levels of the two grand pianos and one of the keyboard synthesizers (the one that sounds a bit like the progeny of Zamfir and a carousel organ), which maps to the volume level of the "Wall of Guitars" being lower when the two grand pianos and one of the keyboard synthesizers are doing something, which in turn maps to being able to hear the two grand pianos and one of the keyboard synthesizers and the "Wall of Guitars", all of which happens automagically . . .

For reference, an electric guitar is the "perfect" instrument with respect to being (a) easily recorded and (b) easily heard, since everything about it is optimal for recording, which in some respects is good but in other respects is a huge problem, because a single electric guitar can overwhelm everything, hence the need to devise a virtual festival of ways to constrain electric guitars, where one of the best ways is to engage in a bit of "ducking", which is fabulous . . .

[NOTE: The structure of the song by design at present is {Intro, A, B, A, B, . . . , A, B, Outro}, and the "A" sections have different variations of grand piano and "Wall of Guitars", while the "B" sections need to feature the "Wall of Guitars", which makes it a good example of how "ducking" controls the perceived volume levels of several instruments, where without "ducking" some of the instruments would dominate the other instruments all the time unless you did additional work via automating volume levels via drawing, which takes a lot of time and is not so easy to modify quickly. The advantage of "ducking" is that once is it configured correctly, it does everything automagically depending on the particular scenario at any given time. For reference, the electric guitars (rhythm and lead) are real, but all the other instruments are virtual and were done with music notation in NOTION 5 using VSTi virtual instruments and then were recorded as soundbites in a ReWire session with the DAW application, where everything shifts to the DAW application for producing, mixing, and mastering, which included recording five tracks of real electric guitar (two tracks of rhythm guitar and three tracks of lead guitar) . . . ]

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