🚌

Audio Routing

Buses, sends, inserts, and parallel paths

Core Signal Flow

Track

  • The original audio or software instrument channel.
  • Use inserts here for source-specific cleanup.

Instrument Bus

  • Group related tracks: drums, guitars, vocals, keys.
  • Use the bus fader as one control for that family.

Mix / Master Bus

  • All group buses feed the final stereo path.
  • Use gentle polish, metering, and final level checks here.

Simple Map

  • Kick/Snare/Toms/OH -> Drum Bus
  • Guitars -> Guitar Bus
  • Vocals -> Vocal Bus
  • All buses -> Mix Bus -> Stereo Out

Insert vs Send

Insert

Processes 100% of the signal directly on that track or bus.
EQ, compression, gates, de-essing, amp sims, corrective tools.
Use inserts when the sound itself needs to change before it reaches the bus.

Send

Copies part of a signal to an aux through a bus while the original keeps playing.
Reverb, delay, chorus, flanger, parallel compression, cue mixes.
Set time-based FX returns to 100% wet because the dry sound is already on the original track.

Post-Fader Send

Send level follows the track fader.
Most reverbs and delays, where the effect should fade down with the source.
This is Logic's normal choice for shared space effects.

Pre-Fader Send

Send level stays independent of the track fader.
Headphone mixes, isolated effects, and some parallel compression setups.
Use carefully so hidden or quiet tracks do not keep feeding the effect unexpectedly.

Parallel Mixing

What It Means

  • Split a source into two paths: dry original plus processed copy.
  • Blend the processed return underneath instead of replacing the original.

Why It Works

  • Keeps punch, clarity, and transients from the dry track.
  • Adds density, sustain, width, grit, or excitement from the parallel path.

How to Start

  • Send the source or bus to a new aux.
  • Compress, saturate, widen, or filter the aux hard.
  • Pull the aux fader down, then raise it until you miss it when muted.

Creative Routing Examples

Drum Crush Bus

Drum Bus -> Send -> Aux with fast compressor, saturation, and EQ.
Adds energy and density while the original drums keep their punch.

Dub Delay Throw

Vocal or snare -> Send -> Delay Aux -> optional Reverb Aux.
Automate send levels on select words or hits for dramatic echoes without washing out the whole track.

Parallel Bass Grit

Bass -> Send -> Aux with high-pass EQ, saturation, and compression.
Adds midrange translation on phones/laptops while the clean low-end stays stable.

Vocal Space Stack

Lead Vocal -> Sends to short room, slap delay, long delay, and plate reverb auxes.
Lets the vocal feel close, wide, and emotional by blending different spaces independently.

Routing Rules of Thumb

  • Use buses to organize related instruments and process families together.
  • Use inserts when a single track needs tonal or dynamic correction.
  • Use sends when multiple tracks should share one space or effect.
  • Keep reverbs and delays on aux returns mostly or fully wet.
  • Name buses clearly: Drum Bus, Vocal Verb, Slap Delay, Drum Crush.
  • Check that every bus eventually routes to the mix bus or stereo output.
  • Mute parallel returns occasionally to confirm they are helping, not cluttering.