Just setting up my film score/orchestral template and I'm up to 39 bus groups in my latest incarnation!!!!!

 

I'm wondering why 39? Why not round to 40

 

Can you explain a little bit or put some screenshot of routing?
I usually go with 5 main buses for each section of

(5)

- STRINGS
- WOODWINDS
- BRASSES
- PERCUSSION
- OTHER

Then I have 2 buses for DRY/WET signals just before master.

(2)

DRY BUS
WET BUS

And I have mainly 3 reverb fx channels

(3)

R.CLOSE
R.MID
R.FAR

And the final routing is like

STRINGS -> DRY BUS -> MASTER
BRASSES -> DRY BUS -> MASTER
...

FX channels are routed like:

R.CLOSE -> WET BUS -> MASTER
R.MID -> WET BUS -> MASTER
R.FAR -> WET BUS -> MASTER

With WET/DRY I have ability to fine balance dry / wet signal just before master.

And, after I count this is total of 10 bus channels, and if you count FX channels as no bus channels then is 7

 

Last edited: May 10, 2017

It's just what it comes to. Why have unnecessary tracks? I can always add more

 

Last edited: May 10, 2017

And this above is typical for my classical template.
My trailer template has only one reverb because is more than enough.
Now days some more trailerish libraries such as ARK or Albions have nice close/room balance so this reverb is just for gluing everything together.

 

As many as needed.

I really don't get the question. Does it cost you extra money to create more buss groups?

 

I ain't even included my FX in that!

I guess I want hyper control over all the mix so break everything down into bus groups and do it in stages. I essentially mix each 'section' in the main tracks, then commit to them and narrow it down to mixing the buses then before committing to them.

NOTE: I don't always use all of these as I sometimes use very little instruments and sometimes simply cut the routing down to less buses, but this is my largest default template setup.

Here is my bus routing, trying to map it out in a sensible way and essentially reading left to right across my mixer:

[STRINGS]
1. VIOLINS I
2. VIOLINS II
3. VIOLAS
4. CELLI
5. BASSES
6. SOLO STRINGS
7. FULL STRING ENSEMBLES

[1 - 7 are routed to bus 8]
8. STRINGS MASTER BUS

VCA: 1 - 8 are routed to a strings VCA

[BRASS]
9. HI BRASS
10. LOW BRASS
11. SOLO BRASS
12. BRASS ENSEMBLES

[9 - 12 are routed to bus 13]
13. BRASS MASTER BUS

VCA: 9 to 13 are routed to a brass VCA

[WOODWINDS}
14. HI WINDS
15. LOW WINDS
16. SOLO WINDS
17. WIND ENSEMBLES

[14 to 17 are routed to bus 18]
18. WINDS MASTER BUS

VCA: 14 to 18 are routed to a winds VCA

[PERCUSSION]
19. HI PERCUSSION
20. LOW PERCUSSION
21. SOLO PERCUSSION
22. PERCUSSION ENSEMBLES
23. EPIC PERCUSSION
24. LIVE DRUMS

[19 to 24 are routed to bus 25]
25. PERCUSSION MASTER BUS

VCA: 19 to 25 routed to a percussion VCA

[KEYS]
26. KEYS BUS

[GUITARS]
27. ELECTRIC GUITARS
28. ACOUSTIC GUITARS
29. BASS GUITARS

VCA: 27 to 29 routed to a guitars VCA

[VOCALS]
30. MALE VOCALS
31. FEMALE VOCALS
32. CHILD VOCALS
33. SOLO VOCALS
34. CHOIR ENSEMBLES

[30 to 34 are routed to bus 35]
35. VOCALS MASTER BUS

VCA: 30 to 35 routed to a vocals VCA

[SYNTHS]
36. HI SYNTHS
37. LOW SYNTHS

[36 and 37 routed to bus 38]
38. SYNTH MASTER BUS

[FX] this is as in FX instruments, not FX channels
39. FX

[FX GROUPS]
40. COMPRESSOR
41. SMALL VERB
42. LARGE VERB
43. ROOM VERB
44. SHORT DELAY
45. LONG DELAY

VCA: 40 to 45 routed to a FX buses VCA

[BUS MASTER]
VCA: all VCAs in the bus groups are routed to this VCA so entire mix can be adjusted with a single fader if needed to be brought up/down in proportion

[PRE MASTER]
47. PRE MASTER- I route all previous MASTER BUS groups (8, 13, 18, 25, 35 and 38), the KEYS, GUITARS, SYNTH and FX instruments and all FX GROUPS to this bus (essentially everything). This is where I apply any VST effects to cover the entire mix.

[SUMMING BUS]
48. SUMMING BUS - I route channel 47 through this if I want (this is a new experiment) using a summing plugin like Waves NLS or Prime Studio's CHARLY.

[MASTER OUT]
49. MASTER OUT - I tend to have this clean with nothing on it, though am experiment with putting Studio One's console shaper on it to see if it brings more life into the track


Sounds more complex than it is. It essentially gives me track control for mixing initially and then commit. Then I reduced to the bus mixing and commit. The I go to the faders that run in the PRE MASTER for a last mix before committing. It essentially gives me 3 mixing 'stages', reducing faders each time and allows me to refine the mix to very fine details. It's probably overkill, and I could achieve the same easier, but it's what I've always used and I feel it kind of replicates large consoles or a dual console setup where one runs the instrument mix and the other runs the bus mix, if that makes sense?

 

More curious about other people's use of buses and their productivity in using them than anything.

 

Ok, basically you set question wrong and that is common case as I see on other forums too (people are rather lazy with titles).

Question should be -> Can you show me / explain me / reveal me your routing standards with orchestral templates.

It's more precise, isn't it? Current question is little stupid. That's why I replied to you first with round numbers
But ok, I would like to be nice, so I revealed you my setup.
Also, from your question / thesis we don't know if you are not sure about your routing or what. If you understand.

 

Last edited: May 10, 2017

Actually no, my original question was correct. I only revealed my bus routing cos you asked.

I don't care what genre etc as i have different templates for different genres that i make, but maybe it would be interesting to know routing. Im just curious as to how many people generally use. For example, hardware console were often restricted to 4 - 12 bus groups and some people may still adhere to that restriction as some people prefer limitations than endless free bus groups until they get to a round number and it would be interesting to know that and why that user does that, how it works for them etc. Some people may use tons (like me). Some people may not use any (somehow?!).

I am happy with my routing as is, but sometimes it is asking vague and generic questions that stimulate conversations and reveal lessons or ideas for some people.

 

Ok, nevermind

 

Keep in mind you might have some duplicates depending on how you split out the mic positions, if you use spitfires ones for example, it sometimes is more beneficial to group up distant mics, or conversely always split them up so that you can apply minor processing to each of them

 

Having control over each group of instruments is a plus but it may cost you energy and time and the difference might not even be better or even noticeable.
More important than the mathematical/surgical approach is the energy of the song and it can be easily butchered if you complicate too much.
Nikon`s approach is more practical.

 

Main groups: 16 tracks each
Strings
Brass
Woodwinds
Perc
Choir
Synth/other

Fx bus for each group
Submix for each group
Submaster
Submaster fx
Master

21 buses in all