VCA Fader Applications

[Anderton]

I recently figured out a VCA fader application that seems pretty cool (well, at least to me - maybe everyone with VCA faders knows this).

 

People often use VCA faders to control individual channels of a group instead of sending them all to a bus, and using the bus audio control. But if you do both - send the channels to a bus, and control the channel levels with a VCA fader - then that opens up possibilities. You can put compression or saturation in the bus, and as you increase the VCA fader, you increase the drive levels to those processors, which increases the compression or saturation effect. Meanwhile, you can still use the bus level control as a "master volume" so the VCA fader sets the compression/saturation character, while the bus fader sets the overall level.

 

I dunno, I think that's kind of cool, particularly because I'm a fan of using saturation.

 

Anyone else have any favorite VCA fader applications?

[Dave Bryce]

Cool idea!

 

I just use 'em for the basic boring stuff. I'm more inclined to stick to pedestrian moves like automating effects processor tweaks.

I have automated an aux buss to ride drums and complex vocal groupings, but that's about it. Nothing terribly creative...

 

 

 

dB

[Anderton]

Cool idea!

 

I just use 'em for the basic boring stuff. I'm more inclined to stick to pedestrian moves like automating effects processor tweaks.

 

You use DP, right? Studio One's interpretation of VCA faders is pretty traditional, they're for varying gain - channel, bus, and other VCA faders. I can't assign them to effects processor tweaks, like filter cutoff or resonance

[Pim]

Thanks for the tip Craig! Will try it next recording.

 

I use the VCA as levels-guard. When I start a new song I keep all peak levels at -6dB, without any eq. Because the start of a new song is more about creativity than sound I don't always turn things down, I turn tracks up... There is where the VCA does its job.

[Dave Bryce]

Cool idea!

 

I just use 'em for the basic boring stuff. I'm more inclined to stick to pedestrian moves like automating effects processor tweaks.

 

You use DP, right? Studio One's interpretation of VCA faders is pretty traditional, they're for varying gain - channel, bus, and other VCA faders. I can't assign them to effects processor tweaks, like filter cutoff or resonance

I was unclear - sorry. I meant when it comes to automation in general, I stick mainly to moves on effects processors (themselves, not using faders to do it).

 

When it comes to faders, I'm a big fan of hands-on faders mixing, and would rather try a few passes adjusting them manually than automating them. Not a "better" thing so much as it is an enjoyment thing.

Sorry for the confusion.

 

dB

[Pim]

 

When it comes to faders, I'm a big fan of hands-on faders mixing, and would rather try a few passes adjusting them manually than automating them. Not a "better" thing so much as it is an enjoyment thing.

Sorry for the confusion.

 

dB

 

Same here... I consider fader movements as a performance with a musical instrument. And just like I don"t like to copy audio and rather play original parts for all choruses, I record all fader movements.

 

Will absolutely try Craig"s VCA 'trick" and will probably use it in a dynamic way in order to create more variations in character during the song.

[Anderton]

Same here... I consider fader movements as a performance with a musical instrument.

 

However, don't forget that the channels are going to a bus, and the VCA affects the level going to the bus to create the effect. You can still use a second VCA fader while mixing, assigned to your hardware controller, to control the bus level. Best of both worlds!

[Anderton]

FYI...I just did a blog post for PreSonus on Four VCA Fader Applications if any of you are interested in pursuing the subject further.