Premier Guitar features affiliate links to help support our content. We may earn a commission on any affiliated purchases.

Trips Down Automation Lane

Trips Down Automation Lane

To create an aux track in LUNA or Pro Tools, press Cmd+Shift+N (or Ctrl+Shift+N on a PC) and set “aux” as the type.

Here’s a lesson in how to apply automation settings to various parameters in your mixes.

Hello, and welcome to another Dojo! Tighten up your belts, because this time I’m going to take you further down “automation lane,” and point out some DAW features that may be missing in your mixes. You’ll recall that last month, I sang the praises of immersive audio and how having your automation skills “on point” can be a big benefit in your mixing process in this paradigm. I also dove into the differences between “write,” “latch,” “touch,” and “trim” settings. Now, you should be able to apply them to a multitude of different parameters available in most DAWs.

Three Plus One, Send/Return

Most of the time, in the latter stages of mixing, you’ll use the “big three” automation options: volume, pan, and mute/solo. As mentioned before, I generally use the “touch” setting when doing moves of this nature, because it will keep any previously written automation moves and only overwrite new data when the fader is touched. (Upon release, it immediately goes back to reading the previous automation data.)

In addition to these three, automation really blossoms when applied to send/return levels to aux bus effects, and will allow you to create dynamic mix textures such as delays and reverbs that evolve over time. I would add that the send/return automation is a key parameter for me, and something that I use on every mix. Every DAW, once in an automated “enable” state, will track your send levels to your aux effects (delays, reverbs, etc.).

Pre Fader, Post Fader…. What’s the Difference?

These terms are important to understand and describe the points in the signal path where various audio processes occur in relation to the channel’s fader. “Pre fader” is when you apply effects or processing before the channel’s volume fader—which means that the amount of signal you send to your reverb effect remains constant regardless of changes in the channel’s volume level. Thus, when you apply a reverb effect pre fader, increasing or decreasing the channel’s overall volume won’t affect the reverb level in the mix.

“Post fader” refers to a point in the signal path that occurs after the channel’s fader. So, any processing applied takes place after the audio signal passes through the channel’s volume fader. Changes made to the fader’s position directly affects the level of the audio signal that’s sent for processing. For example, using a compressor post fader on a vocal track means that the compressor’s response is influenced by the vocal’s volume changes. If you lower the vocal’s fader, the compressed signal will also be quieter. This can be useful for maintaining a more balanced dynamic range in the mix, should you choose.

“Automation really blossoms when applied to send/return levels to aux bus effects, and will allow you to create dynamic mix textures such as delays and reverbs that evolve over time.”

I’ve found that I do 99 percent of my send/return automations pre fader. Why? Because I don’t want any overall volume rides that I may do to affect my effect’s send levels (amount of reverb, amount of delay, etc.), and if I want to adjust the amount of effect levels, I simply automate the aux send fader and leave my overall volume fader alone. But, whatever works for you is the right way to do it.

Try This!

Instantiate some new aux buses. (In LUNA and Pro Tools, the hotkey to do this is Cmd or Ctrl+Shift+N; then set the track type to aux.) Most DAWs are very similar, but read your manual if you are unsure how to do this (Fig. 1). On each aux bus, place a plugin of your choice. Get creative! Don’t just use reverbs and delays, but throw in an amp simulator, bit crusher, tremolos, etc. Next, select the audio track(s) you want to assign to the aux bus(es) of your choice. Also, feel free to assign multiple aux buses to a single audio track, because each bus can be independently automated.

Pick an audio track and set it on “write” or “touch” mode. Regardless of what your GUI looks like, press play and start adjusting the aux send’s fader levels. Play back your automation, edit, and have fun with your mixing. Next time, I’ll guide you through the advanced ways to automating your plugin parameters for even more finely nuanced control and creative possibilities. Namaste.

Brent Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing.

Read MoreShow less

For the first time ever, two guitar greats, John 5 and Richie Kotzen will be heading out on the road this year. The tour will launch October 16 and run through November, hitting markets across the U.S.

Read MoreShow less

AEROSMITH guitarist and songwriter JOE PERRY is set to return to the road for a series of August performances with THE JOE PERRY PROJECT. The 8-date run kicks off August 13 in Tampa, FL and wraps August 23 in Port Chester, New York, with an August 19 performance in PERRY’s Boston hometown (see the itinerary below). For the North American trek—which marks the first solo shows for PERRY this year—the legendary guitarist will be joined by his Aerosmith bandmates Brad Whitford (guitar) and Buck Johnson (keys), along with The Black Crowes’ Chris Robinson (vocals), and Stone Temple Pilots’ Robert DeLeo (bass), and Eric Kretz (drums).

Read MoreShow less

A sample page from the author’s analog log.

Seasonal changes are tough on your acoustic. Here’s how you can take better care of your prized instrument.

Read MoreShow less