Select an unused bus and use it as the output for every channel that you want to reach the mix bus. Now you need to route all of your signals to the mix bus channel. In your DAW’s settings, double check that the channel is post fade. Setting this up is really simple! I’ll demonstrate this using ProTools, but the process is the same in any DAW. Now, you can turn the processed audio up or down using the fader without any disruption to your plugin settings. With a post fade auxiliary track acting as your ‘mix bus’, any changes to the level of that fader will not affect the input levels of any plugins on that channel. Then route the processed signal from the auxiliary track to the master fader. So the solution is to send everything to an auxiliary channel first. Therefore, if the fader’s position is altered, the input levels of any plugins on that channel will be disrupted. After all, why wouldn’t you just route everything directly to the master fader itself? It’s because many DAWs provide only a ‘pre fade’ master. The concept of routing your entire mix to one channel, then routing that to the master fader, may seem strange. Think of it as a single control point for multiple audio sources. An auxiliary track allows you to monitor and control any number of other signals by routing them to it. To do this, you need to use an auxiliary track. If you’ve read ‘ A tried and tested DAW workflow for mixing sessions’, you’ll know that using a mix bus is really important.
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