2 Correct answers
Access the scroll bar on the right side of the Send Module. You need to activate and set level for the assocciated Send. You can see in the attached pic all implemented Bus tracks are receiving signal via assigned Sends.
-paul.
Ah, duh. I knew it had to be something simple in the interface. I kept poking around right there and searched several places online. Guess it was too simple.
While I have your collective attention: How do I select a group of tracks (I've tried click-drag with option, command, shift) so I can route them all to these busses with one click?
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Replies
Access the scroll bar on the right side of the Send Module. You need to activate and set level for the assocciated Send. You can see in the attached pic all implemented Bus tracks are receiving signal via assigned Sends.
-paul.
Hi
Thanks for all the responses.
Neither control-click, nor click and drag (is that what you mean with "swipe") work for me. (I'm OS X.) So to reiterate: I want to select all the tracks in the mixer, click on a one send, select, e.g., C, then have all tracks assigned to send C. In Logic you click and drag across all tracks, click on a send, choose a send, and it's applied to all of them.
Actually, I was thinking the opposite: I don't understand why you would NOT put a send on every channel. In fact, in our classes, that is a mistake, and I correct it. I don't see a reason you would use a send for just one channel. Why not just put the plug-in on that channel (serial). The whole point of auxiliary sends (parallel) is being able to send any track into that auxiliary to any degree. That way you can have maybe two reverbs (hall and plate) and one delay, but dial each instrument into the hall, plate, or delay to the degree you need (e.g., voice a lot, guitar a little, no drums, etc.). Isn't that the whole point of aux sends? As I said, even basic mixers have at least two auxiliaries, but they are on every channel, so that you can send each channel into that aux mix to the degree you need it.
Next question: Aux sends are also used for a headphone mix. But for that to work, you have to set the output of the aux to something other than the main out (e.g. 7/8 of an interface). I can't see how to do that either.
Maybe I'm approaching this from the wrong perspective. I've just taught Logic for so many years and am trying to see to how Audition compares. Maybe it's just not meant as for multi-channel mixing or tracking, but so far the similarities are very close. Even the terms "read, write, latch and touch" for automation. So I kind of expected the sends to be similar.
Just trying to give students choices.
I really don't understand your difficulty here - apart from the one about being able to select all the tracks at once - which I personally regard as rather pointless. Each track on Audition has 16 sends, and you can selectively send that track, either pre or post fade - to a bus, on which you can put effects if you want. If you want to do that again with the same channel to a different bus, then you can - up to 16 times. And you can vary the send level on each one. So that's 16 parallel feeds, isn't it? And if you want to, you can go even further and send bus outputs to another bus if you want. As far as effects are concerned, then obviously if you just want to use one on a single channel then you don't need a send - you just use the track effects as they are. It's not even just limited to a track - you can do that on single clips if you want, within a track. This is effectively the same as having a break-jack on a mixer after the preamp stage.
And yes, if you want to feed an individual output to somewhere different, you need a multi-channel sound device - as you do with any other software. You set it up like this:
As far as the mixer is concerned, you can only select one channel at a time on it - just the same as you can do on a 'real' digital mixer. And that's pretty much why - Audition is at heart, and was originally modelled on, a hardware approach. I know that you're going to say that this is rather limiting, and in a few ways it is - but actually as a model that works in the real world, it's pretty effective as a basis for creating mixes. Which is why it hasn't altered fundamentally in the last 20-odd years - it doesn't need to. It means that people who are used to using hardware for mixing find it relatively easy to get around with it, which they don't with quite a lot of other software mixers, in my experience.
But yes, all software approaches to mixing are different - which means that your experience gained on one isn't necessarily going to transfer easily...
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