La submezcla

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Del curso dictado por Berklee College of Music

Introducción a la producción de música

176 calificaciones

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Berklee College of Music

Introducción a la producción de música

176 calificaciones

Curso 2 de 4 en SpecializationEl Músico Moderno

Aprende sobre el proceso de producción de música -incluyendo la grabación, la edición y la mezcla- y sobre las herramientas disponibles para crear música contemporánea en tu computadora. Esta obra fue financiada con una donación del Banco Inter-Americano de Desarrollo con recursos del Fondo Coreano para la Reducción de la Pobreza. Las opiniones expresadas en esta obra son exclusivamente de los autores y no necesariamente reflejan el punto de vista del Banco Interamericano de Desarrollo, de su Directorio Ejecutivo ni de los países que representa. El Banco Interamericano de Desarrollo no garantiza la veracidad de la data incorporada en esta obra. Puedes cambiar el idioma en Coursera de inglés al español utilizando la página de ajustes de tu cuenta. Para cambiar los ajustes en tu cuenta de Coursera sigue los siguientes pasos: 1. Ve a coursera.org 2. En la esquina derecha superior haz click en el pequeño triángulo invertido que está a lado de tu nombre y foto. 3. Haz click en ‘Settings’. 4. Selecciona el recuadro debajo de ‘Language’ (idioma), selecciona español y salva los cambios realizados. Coursera ofrece ayuda financiera a los estudiantes que no pueden pagar los cursos y necesiten de una beca. Los estudiantes con ayuda financiera podrán tener acceso a todo el contenido del curso y completar todo el trabajo requerido para adquirir el Certificado de Coursera. La ayuda financiera solo aplica al curso en el que se aprobó la solicitud de ayuda financiera. Para aplicar haz click en la opción “Learn More and Apply” (aprende mas y aplica) debajo del menú a la izquierda.

De la lección

La mezcladora

Estudiaremos las funciones básicas del hardware y el software de las consolas mezcladoras de sonido, incluidos volumen, panorámicas, mute, buses, inserciones, envíos y submezclas.

Canal de audio10:51

Concepto de bus2:31

Categorías de efectos3:10

La submezcla6:25

Automatización9:54

Conoce a los instructores

Loudon Stearns
Assistant Professor
Contemporary Writing & Production

A mix can become very complex. If you were to consider an orchestral

recording, there could easily be 100 tracks there you have to mix all at once.

And I don't know about you, but I would have trouble trying to work and remember

what all those tracks are doing. And, and to actually effectively mix them

all at once. So what we end up doing is kind of

chunking or submixing groups that kind of belong together.

So in an orchestral mix, we might take all the woodwinds and put those to just

one fader that we could bring up and down.

And then the brass to another single fader that we can bring up and down.

So in the end, you're kind of mixing inside the group and then you go over and

then you mix group to group all at once. And you kind of mix those submixes.

so you might start with 100 tracks, but you end up with just four faders at the

very end. And this is a really common procedure.

And it's not just for mixing. We find ways, we do that all the time,

any time you're trying to trying to memorize a large string of numbers.

You kind of group it into smaller pieces and memorize those instead.

So the idea of a submix gets used all over.

Not just orchestral music but even in like pop music.

Say I have five background singers. I would tend to submix them to a single

fader that I could process and control the volume [INAUDIBLE] of as a unit.

Or my drums or multiple guitar parts could even get a submix.

So it's a really common procedure, we need to know how to set that up within

our DAW. As we're setting up a submix, it's going

to be using a single bus and the track outputs.

So usually, we would create a bus and give your buses a good name.

and then we would route the output of those tracks to that bus.

So if I was submixing say a set of drums, I would create a drum submix bus.

I would go to all of my individual drum tracks, my snare track.

I'd set it's output to the drum submix bus.

The kick track, I think you get the idea, the drum submix bus.

And then I'd have a single AUX track whose input is that drum submix bus.

So now I've effectively submixed my drums onto an AUX track where I can put a

single insert. So I can put an EQ or a compressor on

that AUX track and affect all the drums as a single unit.

And I have a single fader that represents the entire drum kit and I can easily mix

that up and down in my mix. >> As we're setting up a sub mix, it's

going to be using a single bus and the track outputs.

So usually, we would create a bus and give your buses a good name.

and then we would route the output of those tracks to that bus.

So if I was submixing say a set of drums, I would create a drum submix bus.

I would go to all to my individual drum tracks.

My snare track. I'd set its output to the drum submix

bus. The kick track, I think you get the idea.

The drum submix bus. And then I'd have a single AUX track,

whose input is that drum submix bus. So now I've effectively submixed my drums

onto an AUX track where I can put a single insert.

So I can put an EQ or compressor on that AUX track and affect all the drums as a

single unit. And I have this single fader that

represents the entire drum kit and I can easily mix that up and down in my mix.

>> Now that we've seen how a submix works conceptually, I'd like to go

through the steps of setting one up in a single DAW.

It will be up to you to try this in your program.

But I think you'll find the steps are very much the same everywhere.

So I have my track here. it's one we've been working on through

the course. Let's hear it.

[MUSIC] As you can see, at this point I have Kick, Snare, Hat and Overheads are

all drum tracks. So the Kick was created from a microphone

on the kick drum. The Snare a mic on the snare.

The Hat a mic on the hat. Overheads are two sets of microphones

above the entire kit. I've created a blend between the drums

that I'm happy with. I've carefully controlled the levels and

I have things just about where I want them.

But I'd like to be able to control all the drum kit as a single fader, so we

need to set up a sub mix. The first thing we're going to need is a

bus. So I'll create my bus.

We talked about kind of using an IO or a bus window earlier.

I'll create a new one. I do want to make this stereo because I'm

creating a stereo mix inside the submix so I'll need a stereo bus for this to

function on. And I'll call it my drum submix bus.

With that created, I can configure the outputs of all my tracks to go to that

drum submix. Now if I was to hit Play right, now we

would not hear drums at all. Let's hear [MUSIC] because I've routed

these tracks to a Drum Submix. But I haven't told Pro Tools that I want

to listen to that Drum Submix. So now I'll create an AUX track to work

with that. Like we saw in our earlier diagram, we're

going to set the input of this track to the drum submix bus.

Now, if I hit play, [MUSIC] we hear the drums and our drums' submix is complete.

Notice that I can now bring this one fader down and I can control the volume

of all the drums. [MUSIC] I could also add an insert like

we tried earlier. Maybe an EQ plugin.

And I could control the equalization of the entire drums as a group.

Maybe I wanted to reduce the high end on the drums, I could do that like this.

[MUSIC]. Or increase it as I like.

So I can control all the drums as a single unit in this sub mix.

I'd like you to go to your DAW and try out this technique.

It doesn't have to be drums. It doesn't even have to be very musical.

I just want you to try to create a sub mix within your DAW.

A mix within a mix. It's an important technique and you're

going to need to know how to do it.

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