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Complete Production Toolkit 2 Guide84

Example Sub-Paths

Sub-paths let you route to selective channels

within the multichannel surround output bus-

ses. In Figure 6, the Mix 5.1 bus has several sub-

paths that show this.

5.0 Sub-Path The 5.0 path is a 5-channel sub-

path. Use this type of sub-path routing to con-

serve mixing resources with tracks you want to

keep out of the LFE channel.

LFE Path An LFE sub-path provides a discrete

mono path for the LFE channel.

Signal Routing Examples

The following examples show how main and

sub-paths can be used, using an example session

consisting of a 5.1 main mix, with music and ef-

fects stems (or submixes).

Submix Stem Examples

Figure 7 on page 85 below shows a routing con-

figuration for an effects submix. Two tracks are

routed to stereo bus sub-paths, while others are

assigned to an LCR and a mono bus sub-path.

Two tracks (one mono, one stereo) are assigned

to multichannel busses for surround panning. A

5.1 Auxiliary Input assigned to the FX main bus

path serves as a submixer.

Extending Stereo Mixing Conventions to

Surround Mixing

Stereo mixing sets the precedent for active and

static panning, and surround mixing can bene-

fit from the same basic principles. Figure 8 on

page 85 below shows a routing configuration for

music tracks.

Most of the music tracks in this example are

routed to the front left/right channels, using a

stereo sub-path. A 5.1 Auxiliary Input controls

the bus and stem output.

Multiple Output Assignments

Multiple output assignments make it possible to

configure a number of multi-format mixes. For

example, you can assign an additional stereo

output to tracks and create a stereo mix at the

same time as a 5.1 mix.

Panning a sound back-and-forth between the

left and right speakers is best used as a special ef-

fect. In a typical music mix, the basic tracks are

placed in the stereo sound field and remain

there.

Surround mixes can become incoherent if too

many elements are continuously moving, For

special effects, some tracks can be panned dy-

namically, bouncing between speakers or sweep-

ing from one side to the other.

Figure 6. I/O Setup, example sub-paths

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Avid Complete Production Toolkit Spécifications Page 89

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