Introduction
Mixing is inherently subjective, as it varies from person to person. What is intuitive for one person might not be for the next. However, all audio engineers share a common goal: streamlining the mixing process to achieve the best results quickly. While bus processing may not be a topic you think to prioritize, it is something you should consider utilizing. Understanding the reasons why bus processing works and how it can streamline your mix is crucial. Bus processing simplifies your mix and removes many issues we encounter.
Bus processing is a method I use all the time. This approach allows me to control my mix and streamline my workflow. I get louder mixes without hurting people’s ears and make it easier to train volunteers. Let’s get into why bus processing is my preferred method and why it will benefit you as well.
What is Bus Processing
Bus Processing is simply routing your audio sources into a channel (Bus) and doing your processing there such as EQ and Compression. You have probably also heard of the term “Mix Bus”. This also has a simple meaning, but it is used in multiple ways. Essentially, a mix bus involves routing one or more audio sources, channels, instruments, etc., into one bus, simplifying your mixes. Since “Mix Bus” is often used interchangeably with similar terms, here is how I use these terms.
- Sub-Group = A bus or group of individual channels. This is a Drum Bus, Vocal Bus, etc.
- Aux Group = A bus or group that receives a duplicated audio track. This is a vocal effects bus where you route the dry vocals through this bus and blend it with the dry signal.
- Mix Bus = Is a mix of all my instruments, vocals, and effects into a stereo bus. This is where I apply processing to glue the mix before the Master processing.
- Master Bus = The mastering stage of the mix where I apply the final touches of a mix before sending it out to the PA, Online, Feed Room, etc.
Why Bus Processing Works
Maintaining a consistent mixing process is challenging, especially if you’re relatively new to mixing or your workflow is frequently changing. Maybe your worship pastor frequently changes your workflow, your equipment malfunctions, and volunteer turnover can also add to the complexity. So, how does incorporating additional mixing and processing stages contribute to simplifying and enhancing consistency? I always use bus processing to achieve the exact mix I want and, more importantly, what the audience wants. Let’s explore the 6 reasons why bus processing works.
1. Bus Processing Simplifies Your Workflow
When you first started mixing audio, you probably had questions about what is the best way to set up your console and how you should organize your input channels. You might have been unsure about the purpose of bus channels and how to use them. It can be overwhelming to have so many questions running through your head. Wouldn’t it be a relief to reduce the number of channels you have to worry about? That’s where bus processing comes in and why it’s effective.
Let’s consider this. Nearly all churches or bands utilize at least 6 drum channels. Every church I’ve mixed for had no less than 10 drum channels. Now, would you rather mix 10 channels or 1 channel? Naturally, you’d opt for 1 channel over 10. After you set up the processing for each channel and send a mix of those 10 drum channels to the Drum Bus, you’re left with just 1 channel to manage and adjust the volume. Why bus processing works is once the compression threshold is set, all that’s left to do is ensure the Gain level remains consistent every week, guaranteeing a consistently excellent drum mix.
Check out my latest post, Gain Staging the Correct Way, to discover the best techniques for setting your gain levels. It’s crucial for getting the most out of your mixes.
2. Control Over Your Mix
The second issue is feeling like you have no control over your mix. This can result in the mix not feeling cohesive or experiencing random volume fluctuations from a vocalist or instrument that you can’t seem to fit in the mix. You might even feel that despite your best efforts, nothing feels organized, or your layout is not optimal. How does bus processing help with this?
Why bus processing works here is because it gives you more control over your mix. Busses add another level of processing where you can shape the tone, dynamics, and gain more control over your mix. It may seem counterintuitive to add a layer of processing to have control; however, when set up properly, you will have a mix that sounds unified. You don’t experience random volume spikes, but you still have dynamics and headroom to highlight an instrumentalist for a solo or have a background vocalist adding harmony. They will sound like they are part of the mix, and you will get the desired result.
3. Bus Processing Improves Consistency
The one thing every church strives for, but seems to elude everyone, is consistency. Everyone talks about wanting to build consistency, but very few people seem to know how to get to that point, let alone can describe what that even looks like. You should strive for consistency even if there is high volunteer turnover rate, every engineer mixing differently, or everyone has their opinion on how to mix.
I dealt with inconsistency for many years before reaching where I am now. That’s precisely why I started this blog. My goal is to help you achieve consistent results. It shouldn’t matter what gear you have; you deserve to attain results you can be proud of. You deserve to be acknowledged by your peers and congregation for your efforts.
Another reason why bus processing works is because it demands a distinct approach to mixing. It requires organization and sticking to standards at every stage of the mix process. It will make you a better audio engineer. Bus Processing will also allow you to streamline your volunteer onboarding. Allowing new volunteers to focus on mastering a few channels before advancing to the entire console.
4. Don’t Use DCA’s to Group Instruments
There seems to be confusion over how to use DCA’s (VCA’s if you are Analog). It is great that DCA’s are versatile, but I haven’t seen many situations where it’s used effectively. When DCA’s are not used properly, it can derail your entire mix. How should you use DCA’s in relation to Bus Processing?
When sending instruments into their sub-groups (e.g., Drums to the Drums bus) avoid using DCA’s to control fader levels of your input channel. Changing the volume at the input channel stage directly impacts the bus processing for those inputs. Instead, use the DCA’s to adjust the volume at the bus level. This way you are not affecting the bus processing, only the volume of the bus.
Here is what I would recommend using DCA’s. Each console may be different so you may have to see what option works best.
- Each group of instruments has a Sub-Group: Use DCA’s to control the bus volume faders and/or specific inputs you tend to adjust frequently.
- Example: Use DCA’s to control the volume for Guitar 1 and Guitar 2 instead of the Guitar Bus.
- Only certain instruments are going to Sub-Groups: Use DCA’s to control the volume fader for those Sub-Groups but use the other DCA’s to group your input channels.
- Example: If you don’t have a “Mix Bus” fader, then group all of your Sub-Groups and/or Input channels into one DCA and that is your Band Volume Control.
If you are not optimally using your DCA’s, you may encounter redundancies or headaches due to numerous points affecting each other. It can be challenging to pinpoint the actual issue. Using your DCA’s optimally will allow you to mix with purpose.
5. Mix and Master Bus Processing
If your console allows it, you should have a Mix Bus and a separate Master Bus. The Mix Bus is meant to blend your mix together and add extra energy, while the Master Bus is designed to put the final polish on the mix and prepare it for everyone to hear. The Mix and Master Bus takes your mix to the next level, but it won’t fix any problems in the mix or performance. However, without the final touches, your mix will sound flat.
Every console has some form of stereo output, which may be referred to as PA, Mains, Stereo Out, or Master Out, etc. I typically use this as my master bus and assign one of the bus channels as the mix bus. I prefer to use the stereo out as the master bus to ensure everyone receives the same mix regardless of where the audio is going. However, not every console is configured to send audio from one bus to another, or I may not have enough bus channels for a mix bus. In this case, I would use the stereo out as my mix bus and use a matrix as my master bus, sending that to the PA.
How Many Busses Should You Use?
In my opinion, you should utilize as many busses as are available on the console or DAW. Each console is different, so you need to determine what is important for your situation. The church I used to work at had a Midas M32 for Front of House and we used Behringer P16 for IEMs. I had access to all 16 mono or 8 stereo busses. Since we had a stereo system, I wanted to make the most of the stereo field. I had to make some compromises because I only had 8 stereo busses to work with.
Additionally, on the Behringer X32 and Midas M32 consoles, you can’t route a bus into a bus, excluding the Stereo L/R Fader and Matrix. If you have a Mono PA system, then you have more busses. However, if you do have a Mono system, then I would suggest changing to a stereo PA. Generally, this is an easy change and you should not have to purchase any new equipment. Reach out to me in the Contact Me Form if you have any questions about this.
What if You Use Your Busses for IEM’s?
This situation is quite common. I understand why churches do this since, in some cases, it can be a cost effective solution. I believe that unless you have a dedicated Monitor Engineer for Back of House, you should have a separate IEM Monitoring system. This may mean you will have to purchase new equipment. However, making this small change greatly improves sound quality and creates a distraction-free environment because you will have more control over what happens at FOH.
In the meantime, I would prioritize using a bus for Reverb, Delay, and then Mix Bus. Getting your vocals to sound spacious will have a greater effect on your mix than using a Mix Bus for your band without reverb/delay effects.
Conclusion
It may seem counterintuitive that if you want more control and more consistency you need to add a layer of processing. However, because of what a bus can be utilized for has more positives than negatives.
Utilizing bus processing allows you to streamline your workflow, simplifying a minimizing what you need to worry about. Allows you to have more control over the sound and quality that is being produced. Forcing you to optimize and standardize your console and mixes so you can duplicate the process and make it easier to retain volunteers.
Start adding Bus processing to your mixes on a console or a DAW and see what your mixes take you. Remember to have the same workflow for FOH, BOH, and Broadcast as much as you can.
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Feel free to leave a comment or contact me with your thoughts about this post and if you have any questions.