Pro Tools 2020 Setup for Two Outputs

[tourtelot]

This is probably one of "those" questions but I can't figure this one out even with days of fussing.

Here is what I need to do.

I have Sonarworks room correction as a plug-in on the Master fader output of my sessions via Out 1-2. This goes to my monitor controller, speakers and/or headphones.

When I need to bounce a session to disk, I need to remember to make the room correction inactive to keep that peculiar EQ off the bounce. But I forget to turn it off, well, a lot and need to go back and re-bounce, or worse, print the Sonarworks EQ to the bounce without catching it. It's a silly thing but it is making me nuts.

As well, on the Master fader, I put plug-ins like hi-pass, Waves L1, meter plugs; sort of mastering plug-ins in my case.

I would love to set up a template that would allow all this to happen on a specific fader that was sent to bounce, minus the room correction, of course. And then take the same signal that goes to the bounce and route it to another fader that would pick up all the plug-ins from the "bounce" fader, send to this new fader which would then go through the room correction plug-in and off to Out1-2 and my monitor switcher.

This would allow for two things; never having turn the room correction off before a bounce, and allowing the hi-pass, L1 limiter, meters, and the like to only need to be set up as inserts for the "bounce" fade, act on the "bounce" but also be active in the monitors.

It is probably an easy thing to set up but I am going 'round and 'round and I can not puzzle it out. I would SO appreciate some very specific setup plan from which I will make a working template and that will be that. :)

Thanks to any pro out there who can give me some guidance.

D.

[massivekerry]

I don't know if you're doing Music or Post, but what I do for Music is bus everything to an Aux, instead of an Output. All of the "Master Bus" processing goes on that Aux (I call it "MUSIC MIX") and then I set the output of that Aux to Outputs 1-2 and Outputs 3-4.

Both of those outputs have a Brickwall Limiter with Threshold and Output set to -0.5dB, just to catch overloads. Output 3-4 also has Sonarworks Reference inserted after the Limiter.

So, I monitor from Output 3-4, and can Bounce (as default) through Output 1-2 without worrying about the Sonarworks correction. I check the resultant file afterwards in Quicktime (or whatever media player) and it's almost always correct (unless I was stupid and started messing with the settings on the Brickwall Limiters).

[Sardi]

As above, but take it one step further.

Name your busses in your I/O setup. I have things like Bounce Buss etc. So that when I go to BTD or route things, there’s NO confusion as to where I’m sending things to.

But again, as mentioned above, the ability to send audio to multiple output paths using the modifier shortcut when assigning said output will be your friend in this situation. Save it as a template or track presets and just import it every time you start a session.


Sent from my iPhone using Tapatalk

[Ben Jenssen]

Like Massivekerry, I've always used a aux as my "master fader". It has many advantages, and it's simply how PT should be used, in my opinion.
Master tracks, should be seen as what they are; a tool to control a physical output, if you need that. If a physical output doesn't have a master track in the session, it's still there, you just don't have the view of it.
So, I suggest you route everything thru a aux, treat it like you would a master fader (plugins are also pre fader unlike on master tracks), route it to the output(s) you want, and put your room correction there. Then bounce from the master aux, or print it to a audio track. Remember, tracks can have multiple simultaneous destinations.
At least that's what I would do.

[tourtelot]

Thanks to all for the very precise instructions. I believe, following your plans, I now have a template that should work well.

D.