![]() There are three types of groupings subgroups, VCAs, and DCAs. How group volume controls work differently Mute groups are different than the other groups in how they work but since I’m talking grouping, I thought I’d mention it. A mute group mutes all of the channels assigned to the mute group. This way, you avoid broadcasting the pop of the unplugged guitar or other such sounds. Instead of hunting around the board to mute the band’s channels, you can mute all of their channels at once. The music ends and the pastor walks out so you’ve got seconds before they start talking. Drums are ideal for grouping, with their multiple microphones. Using such volume groups, the blend of the sounds within a group doesn’t change, only their overall volume. ![]() Such grouping provides an easy way to pull back instruments or push vocals to meet the needs of the moment. I place singers in a group and instruments, by type, in other groups. ![]() Useful for sending specific channels to a recording device or to hallway speakers or, more likely, to an effects unit for reverb on all vocalists. There are three main groupings used in mixing: Each works differently, of course, because some days things have to be complicated. There are several methods for grouping channels together. These controls are commonly known as subgroups…but not really…maybe in the generic sense…but then you might say VCA’s if that’s what your board uses…because subgroups are different. The additional benefit of some soft-clipping/limiting from the transformers is just icing on the cake.A subgroup, by any other name….works differently.Īnalog and digital mixers allow for controlling multiple channels as if they were one. My ears like a little saturation on the 2-buss and I can get as much as I want with this sort of signal chain. I like running my 2-buss out through transformers (mine are in preamps but it could be any gear with good-sounding transformers, really) for that very reason - pushing the level into that gear a little higher than what might seem normal seems to give me a little "free" saturation and transient limiting with little downside. ![]() He's probably running it into the VP28 and pushing the level pretty hard (either on the front end or the back end - I don't know what the VP28 likes more) to get the transformer to saturate on the transients and soft limit/limit/clip them in a different manner than a compressor/limiter would do it. On a lot of the stuff I end up mixing, I'm looking for aggressive, punchy, transient-heavy drums and this is one of the ways I try to get there.Īnyway, the compressor is allowing a big transient through and squeezing the body of the sound to be more consistent.but we probably still need to rein that transient in eventually if we're looking to get an appropriate dynamic range. I end up using this style of compression because, to me, it helps the drums hit harder than they seem to when using a faster attack time. Oftentimes, that will allow for a big transient to come through before the compressor can really compress the signal. He's probably using the compressor with a slow attack time on his 2-buss. I can't speak for tony on why he'd do that but I can take a guess because I do something similar in my 2-buss chain (my compressor is ITB at this point, though): ![]()
0 Comments
Leave a Reply. |