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View Full Version : What to put on mix bus


afaik
06-21-2012, 07:28 AM
I'm just curious what most folks put on their mix bus. I put Slate VCC and Waves G-Master and I'm wondering if I'm missing out on something.

I mostly produce folk/americana type music, but I'm interested in finding out what all types of producers/engineers put on their mix bus.

For example, do a lot of folks put brick wall limiters on their mix bus and, if so, what plugin?

Thanks for the input, folks.

ramses
06-21-2012, 09:08 AM
I use some kind of VU/RMS/peak metering plugin and a decent transparent eq of some sort, with hi- and lowpass filters. Sometimes I use a dab of compression as well, I've been using the Klanghelm lately, but I only compress 2-3dB for glue and tone. I put brickwall limiters on the master only to impress clients that don't really get the mastering process and for really quick jobs.

afaik
06-21-2012, 09:17 AM
Sometimes I use a dab of compression as well, I've been using the Klanghelm lately, but I only compress 2-3dB for glue and tone.

Would that be the DC8C? I didn't realize that it was intended to be used as a bus compressor but after reading the description I see "This way you can achieve almost invisible compression for your most demanding mastering sessions, when you want to avoid coloration."

http://klanghelm.com/DC8C.html

Thanks for the tip.

While on the subject, can someone clear this up for me: Is the Waves G-Master buss compressor (SSL 4000 G console style) considered a colored compressor or transparent?

Ramses, also, what limiter do you use?

Cosmic
06-21-2012, 11:36 AM
I heartily recommend Event Horizon.Its the best there is hands down.IMO

Resonator
09-04-2012, 06:53 AM
Fabfilter Pro-L is my preferred limiter.
For compression Klanghelm DC8C takes some beating.

Likko
09-04-2012, 12:17 PM
Maybe I won't get shunned for this, but I recently started throwing the new version of "BBE Sonic Maximizer" and the "BBE Loudness Maximizer" on my master out chain.

I use the Sonic very lightly, but the difference to me is huge.

serr
09-04-2012, 12:48 PM
I'm just curious what most folks put on their mix bus. I put Slate VCC and Waves G-Master and I'm wondering if I'm missing out on something.

I mostly produce folk/americana type music, but I'm interested in finding out what all types of producers/engineers put on their mix bus.

For example, do a lot of folks put brick wall limiters on their mix bus and, if so, what plugin?

Thanks for the input, folks.

Ideally nothing!
If it's my mix, I'll 'fix it in the mix'.

I try to make the mix at the proper volume. Ideally the 24 bit master will need no limiting or compression. If I'm preparing a reduced quality CD master I always have to use 4 - 6db of peak limiting to make the master sound close to correct after the reduction to 16 bits.
For that:
1st choice: Universal Audio Precision Maximizer
2nd choice: Waves L2

beingmf
09-04-2012, 01:44 PM
The answer depends on the musical genre I think. For about 50% of my work I slap a compressor on the (admittedly analog) 2-buss and "mix into" that compressor. GR is mostly not more than 1.5 or 2dB. But often I like a more dynamic, or call it uncoloured, picture of the mix in that case there's simply nothing on the 2-buss and I am forced to use subtle dynamics and saturation on the instrument tracks. Which makes the result more interesting or transparent if this is the goal...

The worst thing you can do is mixing into a digital brickwall limiter. Those who, like me :/, started mixing in the 90's, have probably all been there, and I think we all agree that those "L1" mixes were beyond awful. Headroom is the key for a good mix!

Link0126
09-04-2012, 05:59 PM
Maybe I won't get shunned for this, but I recently started throwing the new version of "BBE Sonic Maximizer" and the "BBE Loudness Maximizer" on my master out chain.

I use the Sonic very lightly, but the difference to me is huge.

Yes, the sonic is nice isn't? Are you talking about the JS version. Waves makes one too and sells it for 100 bucks.

Link0126
09-04-2012, 06:01 PM
I've been demoing Stillwell's bombardier lately. Still getting to know it. I like the 80's console preset. Adds that little bit of glue that once it gets bypassed you really miss it.

PoonJive
09-04-2012, 09:05 PM
I'm just curious what most folks put on their mix bus. I put Slate VCC and Waves G-Master and I'm wondering if I'm missing out on something.

I mostly produce folk/americana type music, but I'm interested in finding out what all types of producers/engineers put on their mix bus.

For example, do a lot of folks put brick wall limiters on their mix bus and, if so, what plugin?

Thanks for the input, folks.

Just finished an indie/folk/punk project that got a nice compliment from a grammy winning mastering engineer. My master bus had the following:

ReaEQ (Only tapering off < 36hz and > 17khz)
TeslaPRO
FerricTDS
BaxterEQ
ThrillseekerLA
ReaComp (Aiming for only 1-2db of reduction at 1:1.5 on the loudest peaks)

All of those plugs are free from variety of sound. Can't say enough about what those do for transients and harmonics. Call it color or whatever, but they sound great, look professional and a little dab will do you.

I own t-racks, but the only thing I use it for lately is metering. That, or if somebody is being cheap on me it's 'Regular #1'

I don't use any verb on the master, but I do sends to IK's CSR plate reverb per instrument bus/group. Vintage mono plate sounds great for folk, so long as you filter out the highs and keep the size relatively small (10 or 12 meters).

James HE
09-04-2012, 09:45 PM
The answer depends on the musical genre I think. For about 50% of my work I slap a compressor on the (admittedly analog) 2-buss and "mix into" that compressor. GR is mostly not more than 1.5 or 2dB. But often I like a more dynamic, or call it uncoloured, picture of the mix – in that case there's simply nothing on the 2-buss and I am forced to use subtle dynamics and saturation on the instrument tracks. Which makes the result more interesting or transparent – if this is the goal...

The worst thing you can do is mixing into a digital brickwall limiter. Those who, like me :/, started mixing in the 90's, have probably all been there, and I think we all agree that those "L1" mixes were beyond awful. Headroom is the key for a good mix!


I like mixing into Event Horizon. I think that if you want dynamic sounding mixes that still sound good when they are limited to death (or almost) you need to do this.

I think that when you are mastering things yourself, you need to do a lot of the 'mastering' in the mixing stage. It just sort of leaves less work later - and thus less chance for errors. Of course, be more conservative if sending things off to be mastered by a pro -

Just one point of view...


On my Master its...

ReaEQ (sometimes)

SPAN

EventHorizon 2

Free G / Stereo Channel > output set to 3/4

TB_Omnisone > receives/sends only on 3/4



Master sends 1/2 to the Mains, 3/4 to headphones. I have parameters to adjust the volume sent to the phones and the wet level of omnisone, I use this like a crossfeed control for the headphones, very cool.

bonus is I don't have to worry about disabling the volume or Omnisone when I render! Super Bonus is the VU meters of StereoChannel are still relevant to the master buss if set to pre-fader. Super Duper Bonus is that all these plugs are FREE. (using JS version of Event Horizon)


One minor bummer - you can't alias the "wet" knob. I'd love to alias it as "crossfeed" in this instance.