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How to Prep Your Audio Mix in Pro Tools: Set up Subgroups

Setting up your subgroups provides you with in-depth training on Audio + Music. Taught by Bobby Owsi… Show More

Audio Mixing Bootcamp

with Bobby Owsinski

Video: How to Prep Your Audio Mix in Pro Tools: Set up Subgroups

Setting up your subgroups provides you with in-depth training on Audio + Music. Taught by Bobby Owsinski as part of the Audio Mixing Bootcamp
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  1. 1m 16s
    1. Welcome
      1m 16s
  2. 8m 20s
    1. Determining the listening position
      2m 27s
    2. Fixing acoustic problems
      2m 5s
    3. Setting up your monitors
      3m 48s
  3. 20m 17s
    1. Setting up your session
      5m 52s
    2. Setting up your subgroups
      7m 50s
    3. Setting up your effects
      6m 35s
  4. 8m 45s
    1. Developing the groove
      3m 46s
    2. Emphasizing the most important elements
      3m 44s
    3. Knowing what to avoid
      1m 15s
  5. 1h 4m
    1. Learning the principles of building a mix
      1m 1s
    2. Assigning the drums to a subgroup
      3m 55s
    3. Building the mix from the kick
      10m 8s
    4. Building the mix from the snare
      8m 46s
    5. Building the mix from the toms
      5m 25s
    6. Building the mix from the overhead mics
      3m 53s
    7. Checking the drum phase
      4m 44s
    8. Balancing direct and miked bass channels
      3m 36s
    9. Building the mix from the bass
      3m 26s
    10. Building the mix from the vocals
      4m 19s
    11. Balancing the rhythm section
      2m 44s
    12. Balancing the rest of the instruments with the rhythm section
      5m 22s
    13. Making a mix without building it
      4m 20s
    14. Balancing the harmony vocals
      2m 35s
  6. 23m 2s
    1. Looking at the three main panning areas
      9m 23s
    2. Panning the drums
      6m 9s
    3. Avoiding pseudo-stereo
      7m 30s
  7. 1h 17m
    1. Understanding compressor parameters
      3m 42s
    2. Setting up the compressor
      14m 45s
    3. Compressing the drums
      7m 53s
    4. Compressing the room mics
      4m 9s
    5. Compressing the bass
      5m 24s
    6. Using the New York compression trick
      4m 23s
    7. Compressing the clean electric guitars
      4m 40s
    8. Compressing the distorted electric guitars
      4m 48s
    9. Compressing the acoustic guitars
      8m 7s
    10. Compressing the piano
      6m 35s
    11. Compressing the electric keyboards
      4m 32s
    12. Compressing the vocals
      4m 34s
    13. Compressing the horns
      3m 55s
  8. 25m 36s
    1. Learning noise gate basics
      9m 23s
    2. Using the noise gate on guitars
      3m 57s
    3. Using the noise gate on drums
      7m 38s
    4. Learning de-esser basics
      2m 15s
    5. Using the de-esser on vocals
      2m 23s
  9. 36m 5s
    1. Understanding equalizer parameters
      10m 16s
    2. Learning subtractive equalization
      8m 58s
    3. Learning frequency juggling
      8m 28s
    4. Using the magic high-pass filter
      7m 39s
    5. Learning the principles of equalization
  10. 49m 46s
    1. Equalizing the kick
      6m 7s
    2. Equalizing the snare
      2m 57s
    3. Equalizing the rack toms
      5m 4s
    4. Equalizing the floor tom
      4m 32s
    5. Equalizing the hi-hat
      4m 56s
    6. Equalizing the cymbal or the overhead mics
      6m 49s
    7. Equalizing the room mics
      5m 13s
    8. Equalizing the bass
      3m 59s
    9. Editing the bass rhythm
      4m 21s
    10. Equalizing the rhythm section
      5m 48s
  11. 47m 58s
    1. Equalizing the electric guitar
      8m 15s
    2. Equalizing the acoustic guitar
      4m 55s
    3. Equalizing the hand percussion
      3m 28s
    4. Equalizing the lead vocals
      6m 5s
    5. Equalizing the background vocals
      4m 14s
    6. Equalizing the piano
      4m 46s
    7. Equalizing the organ
      6m 49s
    8. Equalizing the strings
      6m 4s
    9. Equalizing the horns
      3m 22s
  12. 30m 47s
    1. Learning the principles of reverb
      1m 59s
    2. Understanding reverb parameters
      6m 49s
    3. Timing the reverb to the track
      6m 6s
    4. Equalizing the reverb
      2m 51s
    5. Using the two-reverb quick setup
      5m 35s
    6. Using the three-reverb setup
      7m 27s
  13. 59m 8s
    1. Adding reverb to the drums
      7m 56s
    2. Adding reverb to the vocals
      11m 59s
    3. Adding reverb to the guitars
      5m 17s
    4. Adding reverb to the piano
      4m 19s
    5. Adding reverb to the organ
      3m 43s
    6. Adding reverb to the strings
      5m 36s
    7. Adding reverb to the horns
      2m 57s
    8. Adding reverb to the percussion
      4m 46s
    9. Using reverb to layer the mix
      12m 35s
  14. 46m 8s
    1. Learning delay principles
      1m 40s
    2. Understanding delay parameters
      6m 54s
    3. Timing the delay to the track
      1m 28s
    4. Using delay timing variations
      2m 51s
    5. Equalizing the delay
      4m 23s
    6. Understanding the Haas effect
      2m 51s
    7. Using the three-delay setup
      7m 23s
    8. Adding delay to the vocals
      8m 43s
    9. Using delay to layer the mix
      9m 55s
  15. 21m 35s
    1. Understanding the types of modulation
      2m 43s
    2. Understanding modulation parameters
      4m 13s
    3. Modulating the guitars
      4m 7s
    4. Modulating the keyboards
      3m 17s
    5. Modulating the vocals
      4m 17s
    6. Modulating the strings
      2m 58s
  16. 12m 22s
    1. Mixing with subgroups
      5m 5s
    2. Using mix buss compression
      4m 21s
    3. Understanding the evils of hypercompression
      2m 56s
  17. 39s
    1. Goodbye

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Setting up your subgroups
Video duration: 7m 50s 8h 53m Beginner


Setting up your subgroups provides you with in-depth training on Audio + Music. Taught by Bobby Owsinski as part of the Audio Mixing Bootcamp

Audio + Music
Pro Tools

Setting up your subgroups

Groups and subgroups are extremely useful during mixing because they allow you to group similar elements of the mix so you can make adjustments by instruments sections rather than individually. In this video, I'm going to show you how to set up groups and subgroups and why they're so important when mixing. The first thing that happens when we're mixing is we usually have a lot of similar instruments that are together. Now, if we look at the Kick Drum, for instance, we have a mic that's inside the Kick Drum, which is Kick in, and we have another one that's outside, which is KICK out. They both sound different and if we take a quick listen, you find out that both of them sound good, but they sound even better together.

Now what ends up happening is if I want to adjust the level, either up or down, of both channels at the same time, I'm going to have to move this up a little bit, and I'm going to have to move this up a little bit, and you can see how imprecise it is. So it's much better if we can link them together, and the way we do that is with something called a group. Anything that we want in the group we'll select. So come down with our mouse and we'll click on Kick in, and we'll Shift+Click on Kick out, and there we go. Now we can either say Command+G or we can just go up to Track and say Group, and you can see over here it says currently in the group Kick in KICK out.

Now if there is anything else we want to put in there, it'd be really easy. All we'd have to do is say Hat, Tom, or whatever and then just say Add and it'd be there. In this case, this is only for Kicks, so Kick in and KICK out is just enough. Now we'll go to Name and we'll say this is Kick. As we move one fader, the other one follows, and they follow in exactly the same proportion as we left them. So watch. (music playing) The other thing that happens is the mutes also follow.

If I want to mute both channels, and I'll say I have five channels that are all linked together, they'll all mute--or they're all solo, and that's the kind of the beauty of that as well. So that's group. We can also do the same thing on the SNARE drum, for instance. And once again it's the same thing where the SNARE is very precise in terms of level between them. Now if we come in and have a listen here, as soon as the SNARE comes in-- (music playing) So that's the top of the SNARE drum.

(music playing) That's the bottom. You can hear the snap of the bottom. You put them both together and they sound pretty good. Now, once again if we want to raise both channels and say we just need to goose it a little bit, or even if we are writing both channels, we wanted to write a fade something like that, it'll be pretty difficult to do both channels at the same time, so that's why we'd like to group it. So, once again we'll say Shift+Click on both channels so they are both selected; Command+G, which brings up our Create Group; and in this case, we're going to say Snare.

You can see currently in the group SNARE top, SNARE bottom. And an interesting thing also in Pro Tools is we can see the group is named, and what will happen is right now these are grouped together. You can see the SNARE go up and down and mute together, they solo together. But if I come over here and I deselect it, all of a sudden this group goes away, and you can see just one fader at a time moves.

Come over here, we select SNARE, both of them are grouped again. So that's a group. Sometimes we don't want group though; sometimes we want something called a subgroup. And the subgroup is a little bit different in that it adds an extra fader, but it gives you a bit more flexibility. What we're going to do is come over to our B3. Now, the B3 runs through a speaker cabinet called a Leslie, and the Leslie has a rotating horn on the top for the high frequencies and a rotating horn on the bottom for low frequencies, and it sounds something like this.

(music playing) Here is just the high. (music playing) Here is lows. Add them both together and sounds big and round and full. (music playing) So if wanted to, we could just group them together, as we did with the Kick and the SNARE, but in this case we want to do something else with them. What we're going to do is we're going to add a subgroup. Select them and we're going to go up to Track and we're going to say New, and we want a new, instead of an audio track, an input track.

So now we have our subgroup, and the first thing we're going to do is we're going to name it. So again, we bring our mouse over, we right-click, and it comes up, and it says Rename. I always name subgroups with caps. So in this case, it's an organ. I'm going to say ORGAN in capital letters. This is an easy way for me to differentiate between earlier audio tracks and subgroups. The next thing we have to do is we have to actually assign the tracks that we want to go into the ORGAN subgroup.

So for instance, we're going to say Bus 19. We haven't used Bus 19. Now, I want this track to go to Bus 19. So now, if we take notice, when we hit Play, both tracks are soloed, but we don't hear them. The reason why is we also have to solo the subgroup track. (music playing) Now we can hear both tracks together. And just like with the group, the subgroup allows us to move the level of both tracks up and down.

Take notice of the differences though, that the levels of your individual audio tracks don't move as they do with groups. But here's the cool thing that happens: with a subgroup, we're able to actually add an EQ or any kind of effect across a subgroup, and that, in fact, works across anything that's assigned to it. So for instance, if I want to add reverb, I'll come up here to the SEND, but I'll do it on the subgroup. Say we want to go to the Short reverb. Okay, now listen.

(music playing) Now what ended up happening there was I was able to add some reverb to both of those B3 channels. Now the beauty of this is this allows you to add just one reverb instead of two. Now, for instance, if you had five background vocals, for instance, you'd be able to add reverb to all five with just one subgroup.

This saves you some system resources because instead of having five different EQs, you only need one in this case. So if I wanted to EQ both the high and low channels of the B3, all I'd do is I'd add an EQ on the subgroup and both channels would be EQed, and that's kind of the beauty of it. Now this enables you to do a very, very quick and easy mix, because in this case I'll have a subgroup just for my drums. Now I have one just for the organ. I have one over here for guitar. I have another one for a second guitar.

I have one for vocals. And by doing this, instead of having to move individual channels after I got my balance, I can just move one channel and move the mix in different directions. So this is a very powerful way of doing things. To sum it up, groups and subgroups allow you to group similar elements of the mix so you can make adjustments by instrument sections rather than individually. In a group, a number of channel faders, like drums, are digitally linked together so that you can move one fader in the group and they all move, yet they all keep the same relative balance.

In a subgroup, you assign the desired channels to a subgroup fader, which lets you insert processing in all that channels that were assigned.

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