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(It will be the second of three drop-down menus in the track header.) To assign a track to a bus in the timeline, expand the track header so you can see the Master output menu. Tracks can be assigned in the mixer or the timeline. (If you don’t assign a track to a bus, the output of the track goes directly to the master output and bypasses the bus completely.) Next, we need to assign specific tracks to specific busses. Anytime you want to control a variety of different tracks using a single control, a bus is your best choice. For example, to mix a recording session, you might want to create a bus containing all the mics in the drum kit, another for all the brass, or for strings… and so on. NOTE: There is no limit to the number of busses you can create.

Repeat this process until you have created all three busses.

Because I like clear, obvious track names, I use:

Right-click in an empty portion of the track you want the bus to appear above, and select Track > Add Stereo Bus TrackĪ bus is given a yellow color tag and a default name.ĭouble-click the default name and change it to something more useful.

Select the track you want to bus to appear below and type Option + B.

Select the track you want the bus to appear below, then choose Multitrack > Track > Add Stereo Bus Track.

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If it makes you feel better to place them somewhere else, feel free to do so. This instantly moves the project into Audition, with the clip layout intact.Īll clips were spotted, trimmed, and edited using Premiere.īusses can be created anywhere in a project, however, by tradition, they are placed after all source audio tracks and before the Master track. NOTE: If you are mixing the audio on the same computer you did the edit, an even easier way to move files is to select the project in Premiere’s Files panel, then choose Edit > Edit in Adobe Audition > Sequence.

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The initial project was edited in Adobe Premiere Pro CC, then sent to me as a set of eight AIF audio files because the studio and I were on different computer systems. For this example, we will create stereo stems. Like busses, stems can be mono, stereo, or surround. The three stems are then combined into the final master mix. The output of a bus placing similar audio into a single audio file. For this example, I’m working with mono audio and creating a stereo bus output.

Multiple busses can be combined into a single master output fileĪ good analogy for a bus is that, similar to a real-world bus that collects people from a variety of stops and delivers them to a single location, an audio bus collects audio from a variety of tracks and delivers it to a single output.īusses (which is (are?) also spelled “buses”) can be mono, stereo, or surround.

The output of the bus can be saved as a single audio file.

An effect, or group of effects, can be applied once, yet apply to multiple tracks.

The amount (volume) of audio sent to a bus can be controlled individually by track.

Multiple tracks can be controlled from a single fader.

A special kind of audio track that collects audio from one or more tracks and sends it to the location you specify. Avid ProTools is another excellent tool, however, I’ve had miserable luck with iLoks, which ProTools requires, so I long ago stopped using the program.īus. Still, the techniques presented in this article can apply to any audio situation. The shows they were creating promos for were already cleaned up and mixed. Now, to be truthful, they were dealing with excellent audio to start with. Whatever we created needed to be done – start to finish – in 30 minutes. However, since they were a broadcast outlet, speed was everything. Recently, a client gave me a challenge to improve the quality of their audio for on-air promos.