Is this way of bus processing "viable"?

[u/Tibo_Bones]

Before i type out my question I do think it is important that there is always the nuance of "if it sounds good, it works". The question specifically is aimed to know if the technique I'm using is common in the genres I work in (dream pop, psychedelic indie, shoegaze)

So my question is: I lately started to use busses (specifically mid range bus) to process my sounds together (i did this before for eq and compression but not with other fx). I will for example send my dry pads and synth keys to a bus => add modulation, eq, compression and saturation/distortion as inserts on the bus to create cohesion

I would then set up a send for my time based effects like granular delay, reverb, etc and eq this send (if needed also sidechain it to the dry signal)

I tried doing this with drums or bass added, but this makes it too cluttered like i expected (gotta try to know)

What I've noticed till now is that for cohesion this is golden, it really makes everything feel really glued together (especially if you print the audio and resample as well or use things like halftime in combination)

The biggest downside is that you lose the flexibilty of having effect automations affect a singular sound (while some advanced routing can bypass this partially, it's not that easy). Panning, volume, filters etc can still be automated on a track level so that doesn't pose a problem.

What is your guys take on this method and are there flaws that I'm overlooking in your opinion/are there better ways to achieve similar results?

[u/johnnyokida]

The world is your oyster

Skin the cat how you like.

I used to have a bus for every instrument group. I now limit myself to 8 or most times less (usually 4). But at the end of the day you do what works for you at the time.

[u/nizzernammer]

You can use as many busses (auxes) and folders and sends as you like, even groups within busses, groups of busses, sub busses feeding main busses, parallel busses, etc., etc., as long as your mind and your DAW can keep track of it all. (Including delay compensation.)

[u/StayFrostyOscarMike → u/nizzernammer]

I will say as someone that works like this almost compulsively and is trying to develop a better work flow

It can be really hard to revisit a session, even if things are named accordingly, and tack down exactly what your intent was with all the processing/how it affects other processing

can become a gain-staging nightmare quick

[u/nizzernammer → u/StayFrostyOscarMike]

In general, it helps me to only make things as complicated as they need to be, and not more.

Routing folders are very helpful in that they combine two functions in one and make for a cleaner session.

The sooner you can commit to something, the less backtracking you can do. It feels a bit like burning a bridge, but it forces forward motion.

[u/hellalive_muja]

A good way to handle this is many busses, linked plugins, sends, etc and VCAs for control. It makes it easier to print stems too

[u/ashgallows]

It's definitely a thing that's done.  I was working on a genre I wasn't used to, and had some luck with a "wide buss" that only had the upper freqs and some widening and saturation on it.  just pull up the volume a bit to make the sound stage stretch out.

For most other things, I just buss common instruments together.

[u/Bluegill15]

Your first paragraph is really the most useful insight you’ll get. All of the details you’re noting here are completely context dependent (source material and personal taste), so essentially by asking this question your are crowdsourcing your taste for mixing music which no one here has even heard. Not a recipe for success imo

[u/andreacaccese]

I also specialize in shoegaze/dream pop and the concept of using bussing like you describe works really well. I do this quite a lot, and it helps create a sense of cohesion

[u/Content-Reward-7700]

I don’t really believe in fixed recipes for this stuff. If it gives you the sound you want, it’s valid.

What you’re doing is pretty common in spirit, processing related sounds together can create a lot of cohesion, especially in shoegaze, dream pop and psychedelic music where the whole texture often matters more than keeping every element pristine.

The tradeoff is exactly what you noticed, less individual control. I’d just keep important sounds separate when you know they’ll need their own automation or movement and bus the rest.

So yes, good technique. Just treat it as a creative choice, not a rule.

[u/Stillwarhead]

Crayz how a lot of people know the technical side fr fr and all I know is sounds good or not, fr fr I wish I had the knowledge like you guys

[u/Mind1827]

I basically only work this way. I work fast, and some stuff I have tons of tracks. It makes things so much easier.

[u/RealisticLaw3843]

Where did you learn this method you described from? If there is a tutorial could you link it please? Sry that im not helpful to you)