Proper bus routing and submixing techniques will increase your efficiency in the studio and raise your DAW’s tracking power.
Nothing can make you sweat quicker than having computer-related issues when tracking an artist or a band: millisecond delays in headphone mixes, plugins lagging, glitchy performance from your DAW. Even if you’re tracking only yourself, it is frustrating and breaks your creative flow. For this Dojo, I want to give you some tips for staying in the flow and keeping your cool.
Harnessing the Power of Buses and Submixes.
For the modern guitarist venturing into home recording, your computer’s power and your DAW can be both a blessing or a bottleneck. As creative possibilities expand, so does the strain on your computer’s CPU. Fortunately, one of the most powerful tools for optimizing your recording workflow and CPU usage comes from the tried-and-true, old-school, analog domain: proper bus routing and submixing techniques.
Efficient Signal Flow In the world of digital recording, a bus is essentially a virtual pathway that allows multiple audio tracks to be routed to a single auxiliary (aux) track. This aux track can then be processed with effects like reverb, delay, EQ, or compression, applying the same settings to all routed tracks simultaneously. For guitarists, this is particularly useful when layering rhythm tracks, harmonies, or ambient textures that all benefit from similar effects.
Why Use Buses?
CPU Efficiency: Instead of inserting the same reverb plugin on five different guitar tracks, route all of them to a bus with a single reverb instance.
Consistent Sound: Buses help glue multiple guitar tracks together, ensuring a cohesive tone.
Simplified Mixing: Adjusting levels or automation on a single bus affects all associated tracks, saving time and effort.
Submixes: Organizing Your Sonic Palette Submixes are essentially buses with a specific organizational role. In larger sessions, creating submixes for instrument families (e.g., drums, guitars, vocals) helps maintain clarity and control. For home-recording guitarists, a common approach is to create submixes for:
Clean guitars
Overdriven/distorted guitars
Ambient or effects-heavy guitars
Each submix can have tailored processing chains appropriate to the tone and role of those particular guitar parts. For instance, you might apply light compression and stereo widening on clean guitars, while distorted parts could benefit from dynamic EQ and multiband compression.
“Another great trick if you’re running low on CPU power with a large track count is to bounce or ‘render in place’ any finalized parts.”
Practical Setup Example
Let’s say you’ve recorded:
three rhythm guitar tracks (L, R, center)
two lead parts with delay
one ambient swell track
Then set up three stereo buses and route rhythm guitars (three tracks) into stereo bus one, leads (two tracks) into stereo bus two, and finally the ambient guitar to a more generic stereo bus that will be used by other tracks in your mix and to bring some cohesion.
Lightening the CPU Load Modern plugins can be CPU-intensive, especially convolution reverbs, amp simulators, or complex modulation effects. Routing similar instruments through buses allows you to:
Use one amp sim plugin on a bus during the writing/mixing phase
Print or freeze tracks with final effects before the mastering stage
Automate bus bypassing when a group isn’t active in a section to reduce processing
Another great trick if you’re running low on CPU power with a large track count is to bounce or “render in place” any finalized parts. Once you’re happy with a guitar tone, turn it into a static audio file, removing the need for real-time plugin processing.
Classic Techniques Finally, in classic pop production—think the Beatles, Fleetwood Mac, or Michael Jackson—engineers relied on submixes even in the analog domain. Drums, guitars, vocals, and backing vocals were often premixed to stereo stems to facilitate real-time mixing without modern automation.
Phil Spector’s Wall of Sound famously involved routing dozens of instrumental layers into a single bus and feeding that into a reverb chamber. The result was a lush, unified soundscape. This same idea applies today: Guitar tracks layered for harmonic richness can be routed into a reverb bus to achieve that enveloping texture.
Smart Routing, Better Results Creating buses and submixes may seem like advanced engineering, but it’s simply smart organization. For the home-recording guitarist, this practice not only streamlines workflow but also ensures a more professional-sounding mix. By mimicking tried-and-true studio practices as well as optimizing for CPU load, you can focus less on troubleshooting and more on making music.
So, whether you're recording your next EP or collaborating online, harness the power of bus routing to bring clarity, control, and character to your guitar tracks. Until next month, namaste.
GRAMMY® Award-nominated songwriter, vocalist, multi-instrumentalist, and producer Wolfgang Van Halen has unveiled all the information for his upcoming third album, The End. The album – released by BMG – is slated for release on October 24. The 10-track album clocks in at 39-minuttes and showcases the evolution of Wolf and his songwriting since he launched his solo career in 2020. Recorded at the legendary 5150 studio, the album was produced by friend and collaborator Michael “Elvis” Baskette.
The End is available for pre-order in multiple configurations including limited edition vinyl colors, signed insert version and retailer exclusives here: https://Mammoth.lnk.to/TheEndAlbum.
Continuing the tradition of writing all the songs and performing all the instrumentation and vocals himself, Wolfgang Van Halen set out to challenge himself beyond what he did on his debut and sophomore release, Mammoth II. From the hypnotic opening of “One Of A Kind” to infectious closer “All In Good Time,” Wolfgang demonstrates his proficiency as a musician and songwriter. Songs like “Same Old Song,” “Happy,” and “Selfish” will fit perfectly alongside older songs that fans have already come to love from Mammoth. Mammoth released their first single in May, and it has shot up the charts currently in the Top 5 at Active Rock radio. The success of the single was propelled by the landmark music video – a remake of the classic film From Dusk ‘Til Dawn – directed by Robert Rodriguez and Greg Nicotero. The video is approaching 4-million views and contains cameos from Danny Trejo, Slash, Myles Kennedy, and of course his mother Valerie Bertinelli. To coincide with the album announcement, Mammoth is releasing the track “The Spell” for fans to check out.
The tracklisting for The End is:
One Of A Kind
The End
Same Old Song
The Spell
I Really Wanna
Happy
Better Off
Something New
Selfish
All In Good Time
Mammoth has become known for being road warriors, constantly taking to the road to play their music for the masses whenever they can. 2025 will continues that trend as the band will be heading out with longtime friends in CREED on the Return of the Summer of ’99 Tour this summer. Backed by his live band featuring Jon Jourdan, Frank Sidoris, Ronnie Ficarro, and Garrett Whitlock, Wolfgang and Mammoth hit the road July 9in Lexington, KY through August 30 where the tour wraps in Halifax, NS. To celebrate the album being in stores this October, Mammoth will be heading out on a Fall headline run. The End Tour kicks off on October 31 and runs for 5 weeks before it wraps up on December 7. The tour will make stops in Las Vegas, NV (November 1), Atlanta, GA (November 8), Montclair, NJ (November 14), Chicago, IL (November 26) and Tempe, AZ (December 6) to name a few. Longtime friend Myles Kennedy will be the special guest on the run. More information on all tickets and VIP passes can be found at www.mammoth.band.
Today, Ernie Ball Music Man is proud to announce the release of the Pino Palladino StingRay Bass Collection, a tribute to the unmistakable tone and legacy of one of the most revered bassists in modern music. The collection includes two Pino Palladino Artist Series StingRay Basses—available in fretted and fretless models—as well as the highly exclusive Pino Palladino Icon Series StingRay Bass, a meticulous recreation of his original 1979 fretless StingRay. Only 15 Icon Series instruments will be made available worldwide.
The Artist Series: Signature Feel, Legendary Tone
Inspired by Pino’s original fretless StingRay, the Artist Series models deliver the essence of his tone, feel, and style in both fretted and fretless options. Featuring a poplar body finished in ’79
Burst, a dark-tinted hard rock maple neck with rosewood fingerboard, and a custom asymmetrical neck carve, these basses offer a player-focused blend of comfort and authenticity.
A vintage-style Alnico pickup and hand-wired 2-band preamp (voiced with a 500k treble pot like Pino’s original) capture the warmth and detail that defined Pino’s sound on countless records. Additional features include:
Brass saddles with a string-through-body bridge and adjustable mute pads
Bullet truss rod and 3-bolt neck plate with micro-tilt adjustment
GraphTech NuBone hand-shaped nut
Fretted model strung with Pino Signature Flatwound Strings
Fretless model strung with custom Slinky Nickel Wound Strings .036, .055, .065, .090
Each bass ships in a MONO case with an Artist Series neck plate
The Icon Series: A Museum-Grade Replica of Pino’s Original
Limited to just 15 pieces worldwide, the Pino Palladino Icon Series StingRay Bass is an exacting recreation of Pino’s beloved 1979 fretless model. Every detail has been scrutinized and faithfully reproduced—from the nitrocellulose lacquer finish and genuine late-‘70s bridge plates (with era-correct serial numbers) to the placement of the headstock decal and string tree.
Highlights include:
Hand-selected poplar bodies and slab rosewood fretless fingerboards
NOS bridge plates with brass saddles and spring mutes
Custom-wound pickup with 5/8” Alnico V magnets and 42 gauge wire
Period-correct active preamp with CTS pots and aged voicing
Vintage waterslide decal, Wales Rugby sticker replica, and headstock hand-signed by Pino
Ships in a G&G black/gold-lined case with a certificate of authenticity and vintage-inspired case candy
This is more than a signature instrument—it’s a faithful time capsule of an artist-defining tool that helped shape the course of modern bass playing.
Behind the Build: The Music Man Legacy
From wood selection and relic distressing to preamp circuitry and final assembly, every step of the Icon Series build process reflects the same craftsmanship and attention to detail that defines Music Man’s legacy. Original tooling, hand-applied nitro lacquer, media tumbling, oxidation, and extensive handwork bring each bass to life—down to the last paint chip and softened edge.
Availability
The Pino Palladino Artist Series StingRay Basses are available now through authorized Ernie Ball Music Man dealers. The Icon Series is strictly limited to 15 pieces worldwide and will be available through select dealers as well as the Ernie Ball Music Man Vault.
Blackstar Amplification is proud to announce the release of ID:X, a new generation of advanced DSP modellingamplifiers created for guitarists who demand intuitive control, powerful tone, and flexible connectivity. Available inboth 50 Watt and 100 Watt models, ID:X goes head-to-head with the current market leader delivering a streamlineduser experience with unmatched sound quality and versatility.
Built on the foundation of Blackstar’s acclaimed and award-winning ID:Series, Silverline and AMPED, ID:X introduces a discreet user-friendly OLED display, providing instant visual feedback and deep access for editing settings and effects without the need for menu-diving or external devices. The amps feature six carefully designed voices that cover everything from pristine cleans to our signature Blackstar high-gain tones, all shaped by a powerful four-band EQ section including our patented ISF, allowing players to craft their sound with precision.
Over 35 effects are included, spanning overdrives, distortions, modulation, delays and reverbs. Each effect is fully editable directly from the amp using simple, real-time encoders, making it effortless to dial in tones and jump between different effect types and parameters on the fly.
ID:X also includes Blackstar’s latest IR-based CabRig™ technology, offering powerful speaker and mic simulation and featuring new In The Room™ technology which creates the experience of standing next to an amp while you play, rather than the more studio focussed tones of traditionally captured IRs – all with a choice of EL84, EL34 and 6L6 valve responses to shape the amp’s dynamic feel. Players can create and store up to 99 patches, with easy recall via the front panel or using the compatible FS-12 or FS-18 footswitches. The amps are fully integrated with Blackstar’s Architect software, providing deep editing, patch management and access to a growing online community where you can create, share and download patches with other users and artists.
With a full suite of modern connections, including balanced XLR out*, USB-C for recording, a ¼-inch line out, headphone output, MIDI in and thru* and an aux input, ID:X is ready for everything from silent practice and studio sessions to full live performance. Selectable power modes (including 1W for quiet playing) make it just as suitable for late-night inspiration as it is for the stage.
Designed for players who want the sound and response of a pro rig without the weight or complexity, ID:X represents a bold step forward in modern amp design. Combining hands-on control with studio-quality tone and next-level flexibility, it’s the all-in-one solution today’s guitarists have been waiting for.
The Blackstar ID:X Series is available now at authorised dealers worldwide.
Limited-edition Martin guitars, the 000-18 1955 CFM IV 70th and D-18 1955 CFM IV 70th, pay tribute to Chris Martin IV's 70th birthday and the folk boom of 1955. Featuring reclaimed spruce tops from Alaska, vintage appointments, and a limited run of 70 instruments each, these guitars blend history with modern craftsmanship.
To celebrate Chris Martin IV’s 70th birthday, C. F. Martin & Co. is proud to introduce two limited-edition guitars that honor a pivotal year in both Martin’s history and American music: the 000-18 1955 CFM IV 70th and the D-18 1955 CFM IV 70th.
1955 wasn’t just the year Chris was born—it marked the dawn of the folk boom, a cultural movement that would forever shape the sound of American music. As acoustic guitars took center stage, Martin Dreadnoughts and 000s became essential tools for a new wave of artists. These new limited-editionmodels pay tribute to that defining moment, blending vintage inspiration with modern craftsmanship.
Each guitar is based on an original 1955 Martin recently acquired at auction. The 000-18, serial number 145102, came from the Heritage Auctions Guitar Shop Collection and was prized for its honest wear and soulful tone. The D-18, serial number 144636, was part of the renowned Skip Maggiora Collection—150 vintage instruments auctioned to benefit music education and youth charities. Both original guitars showed decades of play and served as direct inspiration for these commemorative instruments.
One of the most striking features of both models is their reclaimed spruce tops—a first for Martin. The wood comes from old-growth trees salvaged around Prince of Wales Island in Alaska, including wind-felled trees, dismantled log bridges, and massive logs once used in historic barge ramps and floating logging platforms. Sustainably sourced and steeped in history, the spruce tops are printed to replicate the look of the original 1955 instruments, adding visual character to their tonal warmth and balance.
The 000-18 1955 CFM IV 70th features a gloss 000 body with mahogany back and sides, non-scalloped Sitka spruce X-bracing, and a focused, articulate sound ideal for fingerstyle players and singer-songwriters. ($4,699)
The D-18 1955 CFM IV 70th offers the bold voice of a gloss Dreadnought, with rear-shifted non-scalloped X-bracing for enhanced projection and tonal clarity. ($4,699)
Both models include vintage-style appointments: faux tortoise binding, an Old Style 18 rosette, FSC®-certified rosewood fingerboards with 1955-style mother-of-pearl inlays, satin select hardwood necks with Golden Era Modified Low Oval profiles, and Kluson® Waffleback® nickel tuners.
Each guitar is limited to just 70 instruments and includes a hardshell case and an embossed paper label hand-signed by Chris. Released together, they celebrate Chris’ legacy and the timeless Martin tradition of quality, innovation, and respect for the past.
The 000-18 1955 CFM IV 70th and D-18 1955 CFM IV 70th are available now online and through select Martin dealers.
