Here you will find the attenuator for the stereo buss, as well as EQ and dynamics processing, allowing the signal to be brought under control. As you can see from this block diagram of the AW's mixer shown in full at the back of one of the two manuals , the one disadvantage of using the channel Att controls to bring channel faders into their area of greatest control resolution is that this may interfere with any dynamics processing already set up.
In such cases, the make-up gain control in the relevant dynamics section can be used instead, as long as you don't bypass it at any later stage. I've come to the conclusion that the most efficient way to automate a mix is to start by laying down a series of Scenes, positioning them at key places throughout a Song, and identifying their positions with markers. Each Scene can be used to determine the basic mix palate for the block of audio it precedes, and it creates a foundation from which smaller changes can be made using the dynamic automation.
Of course, a whole Song can be automated without the use of Scenes, but Scenes are a much neater way of working because they act like chapters in a book, insomuch as they break everything down into manageable lumps. It is also quicker to apply mix changes to Scenes than it is to work through and edit masses of dynamic automation bit by bit.
I like to set up a Scene which is relevant to the largest portion of the Song and then work from there, rather than starting at the beginning and creating a new Scene for each section as it is encountered. For each section I load the core Scene, alter it appropriately, and then re-save it with a different name. It's a good idea to test your basic Scene mix on a variety of systems before creating numerous edited copies, so that they don't all need to be changed if some drastic alterations to the overall setup are required.
If, however, you've already set up your Scenes and find that you need to change the same settings across several, you can cut down on the work by saving edits into the various EQ, dynamics, and effects libraries. For example, if the EQ on a stereo drum track needs changing for all of a Song's Scenes, first make the changes for the main Scene and save the new setting into the EQ library.
When editing the rest of the Scenes, rather than making all the same changes by hand, just recall the saved setup from the library for the drum part, and then re-save the Scene. Once a series of carefully programmed Scenes is in place, a Song actually requires very few real-time automation moves before it's complete. When it comes to mixing, there are often occasions when a small block of audio, possibly just a note or two, gets in the way and needs to be removed.
Perhaps the timing is out, or the notes are just not right. In some circumstances in may be possible to edit out the offending notes, or simply mute them.
However, the sudden absence of a track of audio can sound unnatural. In such cases a fader move is a more appropriate solution, as it effectively allows the mix engineer to bury the unwanted notes. Ducking just a note or two is usually difficult to get right by hand, but the automation allows a fader move to be tuned almost to perfection. To tackle the scenario outlined above, solo the offending audio and find the start of the first duff note. Write down its exact location, using the Waveform display to help if necessary.
Then do the same for the end of the last bum note. Next, defeat the solo, so that the whole composition is heard, and rewind to just before the beginning of the section. Set the Automix facility to record fader data, make sure that the Fader Edit Out mode is set to Return, and start the track playing.
At the start of the duff section, briefly duck the fader and stop recording — at this stage it doesn't matter if the fader move starts at the right spot or goes to the right level. Make your way to the Automix Event List page the F4 tab in the main Automix screen and find the fader data you have just recorded. Using the cursor keys and data wheel, change the time of the first move to the start time you noted down, and alter the last event to the end time.
You will notice that the smallest timing increment is 25 milliseconds, so data positioning is not as accurate as editing, but that still means that there are 40 steps to every second, so you can get things more or less right. The next step is to reposition the rest of the fader increments between the two outside points. To keep things smooth, it's probably best to have the volume drop rapidly in small steps to its benign level, and then rise back up in the same fashion.
The actual fade amount can then be tweaked until the notes are suitably unnoticeable. Such methods are time-consuming, but worth considering when a small and accurate patch-up job is needed.
The same basic principles can also be applied to other automation data, like pan positioning, or the placement of Scenes. This card offers eight mono effect chains any pair of which can be linked for stereo operation each with as many as five effects blocks into which the various processors can be loaded.
The effects chains can be inserted into the path of any relevant monitor channel, or they can be fed from a spare aux send buss and returned via any vacant input channels. The former routing is most useful for the various compressor, limiter, de-esser, and EQ effects, while the latter suits the reverb and delay algorithms. The Y56K's dynamics processors and equalisers all greatly improve on the in-built equivalents provided as standard by the AW's mixer.
Clearly, eight channels of processing offers a lot of flexibility, but I soon found myself wanting to swap effects setups around during a Song by using Scenes with different Y56K chain setups. Unfortunately this is not practically viable, because you get significant drop-outs when recalling Scenes with drastically different Y56K chains — the card has to reload its whole internal DSP setup.
For this reason, I plan my basic mix with the relevant channel insert and send settings for the eight Waves channels, and then make sure they remain the same throughout a mix.
If needs be, I avoid changing Waves chains by editing audio so that it physically moves to a track with a particular insert effect at the point where a Scene change happens. That said, it is possible to change, say, an EQ setting or compressor level within a Y56K effects algorithm under Scene control without causing the card to reload its whole DSP setup.
Another option, of course, if you think you're going to run out of effects horsepower, is to bounce audio to disk through the Waves processor, keeping the unprocessed audio safe on a spare virtual track. The Y56K mini-YGDAI card offers some of the company's most sought-after processors and effects for use in both mixing and mastering situations.
Firstly, it cannot be used when the AW's other mini-YGDAI slot has either of the Apogee converter boards installed — this risks damaging the multitracker.
A similar risk of damage prevents the simultaneous use of a second Y56K. If you own the Waves Y56K board, you can now download three new plug-ins from www.
When attempting to load discs that have not been finalized in CD drives other than the CRW, the message ""Change Media, please"" will appear. Mixing data, however, cannot be imported. Before upgrading: - Before performing this upgrade, you should backup all your songs and important data to prevent loss due to unexpected mishaps. The MIDI Remote and Utility settings differ slightly in the new version, so these settings will be converted accordingly.
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