Help with understanding aux channels?

[Topo]

My performance meter on the iMac was cooking, so I thought I should make use of an aux track for some common plugin processing...but, I'm not entirely sure I know how to implement this. I see there is an option under the send pop down on a track to bus it to an automatically added aux track. For example, I have several mono vocal tracks where the performer had some weird click in her voice. I have added a declicker to each track, but I think that's putting a lot of demand on the proc. Do I simply apply the declicker to the aux track and bus each vocal to it? I also realized that I don't want to hear any of the original track with the clicks on there, so I got stumped on how to turn that off and still be sending signal to the aux.

Anyway...thanks for the help. I've been looking thru all the Motu tips on FB, and in the manual, but have yet to really sort it out.

[reedster]

I have added a declicker to each track, but I think that's putting a lot of demand on the proc.

For this job, rather than processing the audio in real-time consider doing it off-line with Audio / Apply Plug-In

Do I simply apply the declicker to the aux track and bus each vocal to it?

Sounds good. If you have to process in real-time this should save system resources.

I don't want to hear any of the original track with the clicks on there, how to turn that off and still be sending signal to the aux.

Set the Aux to Pre-Fader there's a button labeled "P" near the gain knob and pull the vocal track faders down or set the vocal track outputs to the input of the declicker aux.

[HCMarkus]

When performing a process like de-clicking, de-noising or other similar edits that will typically be done once and forgotten (as opposed to adjusting to taste, i.e. a reverb send level or EQ), consider processing audio destructively, not in real time. That way, you can move on with your mix without ever thinking about the offending noise again, and system resource are not devoted to "reinventing the wheel" every time the track is played.

If you are afraid you might need the unedited original at some point, simply duplicate the take in DP and save the duplicate in its original form.

If you want to route multiple tracks to an Aux bus without hearing them other than through the Aux bus, assign the outputs of those tracks to the same input you assign to the Aux bus, and assign the Aux bus output to your main out. Use sends only if you want to split a signal, like for a reverb send or delay send.

[Topo]

For this job, rather than processing the audio in real-time consider doing it off-line with Audio / Apply Plug-In

Is this only a DP8 thing? I can't seem to find that command in the Audio pull down.

[Topo]

When performing a process like de-clicking, de-noising or other similar edits that will typically be done once and forgotten (as opposed to adjusting to taste, i.e. a reverb send level or EQ), consider processing audio destructively, not in real time.

Is this done by using "bounce to disk"? thanks

[stubbsonic]

First, select the audio to be processed. You can either do this by selecting a soundbite in the Tracks Overview or from the soundbites window (I always double-click to open the editor and do a select-all from in there).

Then look the Audio Menu for the "Apply Plugin". That's what it's called in DP8. In DP7, it might be called Audio Plug-ins.

There's a minor bug where even if you choose a stereo file, it will only show mono options, but apparently it is still processing in stereo when needed.

[Dan Worley]

For this job, rather than processing the audio in real-time consider doing it off-line with Audio / Apply Plug-In

Is this only a DP8 thing? I can't seem to find that command in the Audio pull down.

Duplicate the track or take and work on the copy
Click on the soundbite to select it
Go to Audio > Apply plug-in
Select the plug-in you want
Preview will automatically loop the soundbite for you
Adjust the settings
Apply it when you're satisfied

Edit: Oh, yeah, while I'm thinking of it:

You may need/want to adjust the settings to the plug-in while listening in context/realtime. If so, set up the plug-in the usual way through a mixer insert and adjust as needed, then save or copy the settings and bypass the plug-in. Now follow the directions above and then load or paste in the settings to the plug-in. When you're satisfied it's right, delete the plug-in from the mixer.

[Prime Mover]

Keep in mind for the future that Aux tracks can be used in two different ways: in serial or parallel with their parent audio tracks. "Bussing" or "sending" describes sending the audio in parallel from parent tracks using the "send" area in the mixing console channel strip. This is great for reverb, delay (sometimes), and parallel compression, mainly. In fact, I would recommend switching over to doing ALL reverb in this manner. When people first start mixing, they tend to apply reverb as an inline insert, and use an internal "mix" setting" to set the reverb. I know I did for a while. While this works, you'll run into severe limitations down the road and on more complex projects. It takes some getting used to to switch, but it's worth it.

However, Aux tracks are also great as submixes in series. To do this, you simply set the final output of your audio track to the appropriate bus. In this setup, 100% of the audio from the track will flow right into the aux track. You will have no control over how much of the audio goes in (usually in parallel it's up to about 50% unless you engage the pre-fader button), it's everything. This is best for any processing that you would typically do right on the audio track's inserts, but spread out to include other tracks as well. Putting a master EQ on multiple drum mic tracks, or collecting all your vocal tracks so you can automate the volume for all of them at once are both common reasons for using aux tracks in series, often called "submix" tracks.

In your case, if you're reluctant to use the declicker destructively, then you'll want to create a vocal submix Aux track and bus, throw the declicker on that, and output your vocal tracks to there. Don't bother messing with pre-fader send and turning down the volume faders... this really isn't intended to be used that way, and it will severely limit your ability to perform automation.

[Topo]

In your case, if you're reluctant to use the declicker destructively, then you'll want to create a vocal submix Aux track and bus, throw the declicker on that, and output your vocal tracks to there. Don't bother messing with pre-fader send and turning down the volume faders... this really isn't intended to be used that way, and it will severely limit your ability to perform automation.

I think this aux track business is going to open up a big world of potential for me...BUT, I'm not quite there yet. The manual has so little about it and, as I mentioned, I can't find any video tutorials, so I appreciate your guys help.

I assume that, with declicking, I do not want any of the original track mixed in with the affected output. However, like you say, If I grab the post source, I lose all my volume automation. If I simply route the output of these vocal tracks to the aux, and apply the declick, I should set the declick output *not* to mix in any source....There isn't any obvious knob for that in the plugin, just an in and out slider. So far I can't tell if those work to do what is needed. If I pull down the input slider, I still get output, but I'm trying this on my break times at work, so I don't really have a "clicky" sample to test with. If that "does" work, I assume it's exactly what I should be doing?

[Prime Mover]

It sounds to me like you're still hung up on the concept of "sending". If you want to get 100% of the audio to flow into an aux channel, you don't do this with sending, you set the output of the track (that's the dropdown menu at the bottom of the channel strip in the mixer, below the fader.

I also want to make sure you are correctly understanding the concept of "buses" and their relationship to aux tracks. "Buses" are basically the virtual patch cables used to send signals around to different sources. Assign the output of any signal (including a send) and then it will be received by any track set to input that same bus. One thing that's really easy for beginners to get confused about is the distinction between Buses, Aux Tracks, and Sends. Aux tracks are blank "processing tracks" used to collect and process incoming audio, but do not contain any waveforms in of themselves. Buses are the virtual patch cables between all sorts of audio tracks (auxes included), and Sends are a secondary output off audio tracks that send duplicate signals out (through buses) to other tracks. But don't forget the basic track "output" as well. You can assign the final output of any audio track to a bus as well, not just a physical output.

For what you are doing right now, forget for a sec about Sends at all, they're not going to help you, and you seem to be feeling like you have to use them, which you don't. In fact, probably a slight majority of all aux tracks I set up don't receive their signals by way of sends, but the Output of various tracks.

[Topo]

Thanks Eric (and others)....I'm absorbing the advise well....with a few hiccups; I'm still not exactly sure how to retain volume automation with a track that I want to assign to an aux track, but do not want any unaffected material mixed with the affected output.

One idea is to use the "apply plugin" to that track/soundbite, in a destructive manner. In this case, no aux track is necessary.

The other option is to copy the automation info to the aux track (can this be done?), assign the output of the source track to the aux, and find out if the plugin has a feature that will allow me to output only the affected signal from the aux.

[Prime Mover]

Maybe I'm not understanding correctly, why would you need to copy automation from one track to another in this case? If you set the output of one track to a bus that will flow to an aux, the aux will receive all the volume changes that you make in the audio track. If you were to duplicate them, the audio automation would simply be magnified. What is your reasoning for wanting the volume automation on the aux? Especially since you want the aux to be receiving from multiple tracks with their own independent automations. Shouldn't you just do the automation in the audio tracks, output all of them to the aux subgroup with the declicker and be done with it? Maybe I'm missing something.

PS: also, declicker is probably not very CPU intensive, unless we're talking like 20 tracks or your computer is really old , simply having the declicker on all your vocal tracks (where it's needed) would probably not make much difference.

[Topo]

Maybe I'm not understanding correctly, why would you need to copy automation from one track to another in this case....

Yeah, you're totally right. There is no reason to do such a thing. I must have been thinking about something else...who knows what. Good to know that declicking isn't proc hungry.

[HCMarkus]

When you assign the output of your audio track to an Aux Bus, all volume automation is retained. The key to understanding DP signal flow is understanding how analog mixer bussing works.

[Prime Mover]

Bingo, HC, I couldn't say it better myself.

All digital mixing is, at the end of the day, inherently based on analog signal flow. The only real difference is that instead of voltages, you're passing 1s and 0s. But the concepts are identical, and in fact, the program interprets the data in exactly the same ways hardware processors work with incoming analog signals.

The main key, and the reason why it's called signal "flow" is that there is a distinct up stream and down stream. Think about it, you're directing water down a series of pipes, once you turn a switch and send it one way, it can't come back up and around to another pipe unless you add that route in. Similarly, each audio processor has no idea what's going to happen to the signal once it leaves it's output; it does the job it's designed to do and sends it on its way. Similarly, a processor has no idea what any other processor up stream did to the signal, it simply performs the same transformations on any incoming signal regardless of how it was produced or altered. There's no magic, each processor is simply running the signal it's fed through it's own transformations. If you send a bunch of signals into the same submix (an aux track), it's like routing a bunch of water into one basin: you can't separate the water out again once it's been all mixed together.