How do We Bus Audio Tracks in Adobe Premiere Pro?

hey everybody mark it with Lewis here from cinema sound calm how do we keep control over hundreds of audio tracks when we're in a nonlinear editor like Adobe Premiere Pro well we know how to do this in any digital audio workstation like Adobe Audition using busing but how do we do that in a nonlinear editor I'm going to show us how to do that right now alright we're here in Adobe Premiere Pro and as you can see I've got the audio mixer up this is not the clip mixer but rather the track mixer each one of these tracks here gets a special fader along here an independent volume control and that's one of the things that makes Premiere Pro super useful it's got all kinds of audio implementation and plugins available many of which are found in the powerful digital audio workstation Adobe Audition but I've got a really complicated timeline here let me just show you we've got one video clip yay and this is from the trailer from Star Trek Axanar but if we scroll down you can see many many audio tracks down to about a hundred and twenty tracks from stems of music to lots and lots of sound effects and then finally some voiceover let me just play this for you so you get an idea of what we're talking about just a witness to whatever's coming your way let's take a look at this obviously there's some voice over here you're just a witness to whatever's coming here and that's here on the voice-over channels and then we've got tons and tons and tons of sound effects here let's just play and you can see [Music] and in the music at the very end there actually it looks like most of these sound effects are just here down to about track 20 or so let's just check that out one more time because that's fun just a witness to whatever's coming your way now if the director came to us and they were like hey we like the sound effects but we want them all turned down a little bit or we want all the voiceover up or we want all the music tracks like look down here here's where all the stems are for all the all the music is about 32 tracks of stereo lots and lots of stuff well we could sit there and turn down every one of these faders you know or do whoa do all kinds of automation or whatever nonsense what we want to do is be able to group them together into a bus and as nothing to do with traveling across town or anything like that just we group them together and then we have not only control over their volume but we also have control over their sound let me show you what I'm talking about so just for ease let's just start with the voice over and I've just got two channels of voice over here so it's pretty simple we're gonna scroll up here now we've got some plugins up here and this is sort of this area up here is the plug-in section now how do we get to this section you ask good question normally your mixer window looks like this and if you look here at this little arrow that's just there when we click on it we get both plugins and bus assignment and master output so these are the plugins I've got you know parametric EQ and a little well massive compressor on the voiceover what we can do is go here now to the sends and we want to say we're in stereo for now but you could do this in 5-1 create a stereo sub mix bang now what that does is gives me a special knob that I could send this entire channel to this sub mix now where did that show up we're going to scroll all the way to the right here scroll all the way down and here it is sub mix we're gonna label this voice-over buss we don't want to send excuse me there we don't want to send this channel via the sense I know from the department of redundancy department instead we'll say once we set that up none and go to master and then say voiceover buss now that we've created the voiceover buss now we have the ability to go there and and once there this channels full output now goes to the sub mix Channel so come slide over here we'll come down here and we'll just play the voiceover soloing it you're just a witness to whatever's coming your way and now you can see the voiceover bust is going to the master output itself so if we did this with the second voice over channel once created it also can go to the voiceover bus and this is just some fun edited stuff it's also now going to the voiceover bus so that's great so now we have both of these voiceover channels going to this bus now why do we care well what it allows us to do and in fact I'll just make a mess of this here we're just gonna slide this over so we can hear both at the same time solo both of them you're just a witness to whatever's coming your way we can hear all of them happening here and if I solo this you're just a witness we can solo just the voiceover but the other thing that allows me to do is automation if I choose to turn all the voiceovers up or down which is super super helpful or pan them or more importantly yet be able to add an overall EQ or compression to the voiceovers all at once so I wanted to add a nice kind of honky sound here to the voiceovers I could turn this way up and make it way wide and then we get this just a witness to whatever's coming your way and all the voiceovers get that obviously better not worse alright let's talk about the sound effects now of which there are bazillions and we probably want to group those in particular because there's so many of them voiceover in this case not so much we do the same thing let's find the very first sound effects track that's this right here pretty cool and we'll just take it as an example we'll scroll up and of course we would do this before we really start mixing we're gonna say the same thing create stereo sub mix and we'll turn this off we can do that because we know it's been created over here on the right there's sub mix - we're going to call this SFX bus and then we will go and do this oh wait one thing there's sound effects bus now it's going out the sound effects bus left and right however we wished it were panned in this case it was mono we can do the same with each one of these all of the sound effects we just go one at a time so all them as you can see is pretty fast I'll come back in a second which I have all these put together alright now we have all of the sound effects going to the sound effects bus yay like this and so if we go over here and look at the sound effects bus and go through the sound FX they're all happily there then we do the same thing for the music we're gonna find where the beginning of the music is right here there's the metronome we'll leave that off here's the reference that we had which you can see here go up there's the metronome and there's the reference just there so we'll do the same thing we'll go hey right here we'll say make a stereo sub mix there sub mix 3 we'll go over here and we'll call it m X bus and then we will assign all of the music tracks to it again once we get here there's mx-bus and i'll be right back after I've done this and some of you may be asking well wouldn't you want it to go to maybe the MX bus and the master bus and the answer is you might but generally we wouldn't want separate sound going to the master that we didn't have control over and unless it's going to this master bus we don't have control over it except from an individual level and you know that's useful if you want kind of separate control over some kind of an instrument or dialogue or you know sound effect that really needed its own kind of automation but you can do that anyway on the individual channel and/or clip for that matter and have it go to this specific bus that you want and have maximum value now what's great about this is you can also route and here's a voice over or sound effects in a mecha music bus you can also route these to another bus if you wanted to process them all independently before they got to the master bus so let's solo music now and see how we do beautiful just music even those sound effects banging away only music so now that we have all these put together we can have maximum control so let's put the music into touch mode [Music] now obviously we would want to make it better not worse but you can see all of the tracks being moved up and down together we can also carve out of the music itself and the sound effects where we know the dialogue sound will live and we've talked about this multiple times on many different videos doing notch EQ we like to call notch EQ pulling the dialogue fundamental frequencies out of the music I'm just making this up from just general experience and then amplifying frequencies where we know the dialogue is not going to live so here's the music with this new crazy EQ attached to it that's the MX possible solo notice the automation crazy crazy automation but now with this put together just a witness to whatever's coming his way now notice I up ssin dragged the parametric EQ over from one bus to the next now the sound effects also have dialogue notch EQ just as simple as option or alt dragging over and you're good to go doing this kind of bussing really makes things super fast when you get into the mix you're going to want to have all kinds of busses in this case not just voiceover sound effects and music those are the basic three but also if you have a lot of tracks with ambiences or Foley you want to break those out as well and once you get to this master as always we want to be able to add some kind of a hard limiter as we talked about in this cinema sound education so we never go over zero and get that call from quality control nobody nobody nobody wants that and that way we can turn it up a little bit louder and not go over zero [Music] not over zero yay thanks for limiting alright so that's the basics of bussing I like to say to the cinema sound members organize or die and it's even more important in a nonlinear editor like Premiere Pro when we have hundreds of tracks to be able to not only stay organized but also keep control and being able to move the tracks up and down EQ them all kinds of other things on the whole and by discipline hopefully this video has been helpful to you and if so please subscribe to us here at the cinema sound channel on YouTube and come visit us at cinema sound comm where we have hundreds and hundreds of articles and videos to help you get that unfair competitive advantage in the multimedia marketplace until then we'll see you in the edit suite

Channel: Cinema_Sound

Views: 5,059

Keywords: adobe, premiere, pro, audition, bus, bussing, cinema sound, mark edward lewis, NLE, DAW, Non linear editor

Id: 1PXyERZNMUk

Length: 12min 9sec (729 seconds)

Published: Fri Feb 28 2020