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Effects Sends/Returns in Pro Tools
Last week we looked at a more advanced mixing technique known as side chaining. This week I thought I would discuss something a bit more basic and show you how to set up sends and returns in the Pro Tools mixer.
In The Mix
If I had to name one common element in a professional mix, it would be the use of sends and returns for time-based processing (reverb, delay, etc). While most mix engineers will tell you that there are no hard and fast rules in mixing, certain types of effects are best integrated using a send-return relationship. Because time-based effects such as reverb and delay tend to be fairly processor intensive, it is common practice to “share” these effects amongst multiple tracks by creating an aux return and using sends to control wet/dry ratios. Using shared effects saves precious DSP and allows the mixer to create blends not possible through inserts alone.
Sends
A component found in even the most basic mixers, a send provides a track with an alternate output path, a way of “sending” the signal to another destination besides its main output. In Pro Tools this destination can be internal within the mixer (via a bus), or external to an interface output. Pro Tools 7 supports up to 10 sends per channel, each send can be configured as either pre or post fader.
To view your sends in the mixer choose View > Mixer > Sends A-E (for sends 1-5) or View > Mixer > Sends F-J (for sends 6-10). Sends sit just below the track inserts and can be distinguished by their light grey background.
Sends in Pro Tools can be viewed in two different ways. Assignments (View > Sends > Assignments), shows your send slots. Once a send has been assigned, you may wish to view that send individually by choosing View > Sends > Send “letter.” In Pro Tools 7.3 you can quickly toggle between these views by right clicking on the send assignment button.
 Busses
A critical component in setting up the send-return relationship, busses provide internal routing pathways within the Pro Tools mixer. Besides sends and returns, busses are frequently used for sub-mixing groups of common tracks. The Pro Tools mixer supports up to 128 busses (32 in Pro Tools LE/M-Powered) that can be configured as mono, stereo, or multi-channel pathways.
The “return”
Sending signals out is only half the equation, once a signal is sent into a bus there has to be something on the other end to pick it up. Sometimes referred to as an “aux” or “effects” return, the return serves as a sort of “bus-stop” that collects the cumulative output of all the sends and returns the signal back into the mix. By creating an aux track and setting it’s input to a bus, signals can then be sent to that common bus and summed into the aux track. This summed signal is then processed via the aux tracks inserts before it is returned back into the mix, completing the send-return cycle.
Putting It All Together
This is a simple example of how I would set up a reverb return in Pro Tools. The same steps can be used for any effect you wish to share across a group of tracks (delay, chorus, flanger, phaser, etc).
- Start by creating a new mono aux track (Track > New Track). It is a good idea to name this new aux track to reflect the type of effect that it will host (in this example we will name the track “Reverb”).
- Set the input of your aux track to a free bus (in this case I have used “Bus 1”). This will allow the aux track to act as the “bus stop” for bus 1. All signals routed into bus 1 will find their way into this aux track and out into the mix.
- On your new aux track, insert the Digirack plug-in D-Verb (mono/stereo) found under Plug-ins > Reverb > D-Verb (mono/stereo). I have chosen to use a mono/stereo plug-in to “stereo-ize” the output of the mono aux track, giving me a stereo reverb sound without the cost of a stereo bus pair.
- Now that the return is waiting, simply create sends to the same bus used in step 2. The “dry” signal will continue to pass through a track’s main outputs while the “wet” signal, after being bussed out to a common aux track, is returned back into the mix after receiving any processing on the aux tracks inserts. Create sends to this common bus on any track you wish to add the effect to. The balance of wet to dry can be achieved using the sends level fader, increase the sends level fader to increase the amount of effect you hear in the mix (in this example the send level fader would control the amount of reverb).
- Finally, solo safe the return track, Command-Click (Mac) Control-Click (PC) on the tracks solo button. This keeps the aux track from being muted when other tracks in the session are soloed.
Tips:
- Make sure to set the wet/dry parameter on your return effects to 100%. The wet/dry balance will be achieved through the level of your send.
- Name your Bus pathways in I/O set-up. For example, if you are using bus 1 for a plate reverb, name that bus “plate.” Remember you can right click on pathways in Pro Tools and choose “rename,” to rename paths as you use them.
- Leave your return volume at unity gain (0dB). Control the level of the effect using your send level.
- Try filtering your return effects with EQ, removing some of the low-end and/or high-end from a reverb or delay return can help maintain clarity and create depth in your mix.
- Automate send levels to create interesting changes in the mix.
- Stereo aux returns will require stereo sends and bus pairs. Using mono aux tracks in conjunction with mono/stereo plug-ins allows you to save a bus path.
Pro Tools Tidbits
If you have a Pro Tools related question that you would like me to take a shot at answering or have any feedback, please send it to brian@audioMIDI.com. I will do my best to select the questions that seem to stump the most people.
As always, stay tuned to the audioMIDI.com eNews for the latest reviews and new product info.
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