|
Post by M57 on Jul 7, 2017 6:50:45 GMT -6
I've got a Mixing 101 question. Normally, I throw compression on the 2-buss as I'm mixing, partly because it sounds better, but also to get a feel for how things will glue when mastered. So this time I'm experimenting by working on remixing a song with nothing on the 2 as I mix. I always take care to leave a good amount of headroom when tracking (usually -16 to -12db and maybe -9 db max). So I started with the bass and drums and as I was mixing I wasn't really paying that much attention to the meter on the 2. Then on to the piano and guitars, then the lead vocal. I haven't even gotten to the BVs and strings and of course all of a sudden I'm noticing that peaks are touching 0db, so I'm going to have to either pull everything down or bring the master fader down. Also, I got to thinking that other than leaving a little room for some EQ tweaks up front, I'm going to be hitting at least 2 compressors when I master and I'm going to need to apply make-up gain anyway, so maybe I shouldn't mind if things get hot.
So I have a couple questions. How do you all decide where to throw up faders when you start mixing, and what levels do you like to see on a naked 2-buss? ..or do you always start with something on the 2? Any other thoughts regarding what you aim for on the 2-buss?
|
|
|
Post by swurveman on Jul 7, 2017 8:14:23 GMT -6
I've got a Mixing 101 question. Normally, I throw compression on the 2-buss as I'm mixing, partly because it sounds better, but also to get a feel for how things will glue when mastered. So this time I'm experimenting by working on remixing a song with nothing on the 2 as I mix. I always take care to leave a good amount of headroom when tracking (usually -16 to -12db and maybe -9 db max). So I started with the bass and drums and as I was mixing I wasn't really paying that much attention to the meter on the 2. Then on to the piano and guitars, then the lead vocal. I haven't even gotten to the BVs and strings and of course all of a sudden I'm noticing that peaks are touching 0db, so I'm going to have to either pull everything down or bring the master fader down. Also, I got to thinking that other than leaving a little room for some EQ tweaks up front, I'm going to be hitting at least 2 compressors when I master and I'm going to need to apply make-up gain anyway, so maybe I shouldn't mind if things get hot. So I have a couple questions. How do you all decide where to throw up faders when you start mixing, and what levels do you like to see on a naked 2-buss? ..or do you always start with something on the 2? Any other thoughts regarding what you aim for on the 2-buss? It's a lot simpler to just pull the master fader down than pull all the individual channel and bus faders down. It's a cause/effect process. As your individual tracks get hotter you pull the two bus fader down. This can happen a lot during the mix process. This was one of the things I came away from watching Billly Decker Mix: Loud is better. To get loud (along with getting rid of a lot of the low end junk) you've got to push and limit individual channels and summed channels (Drum Bus etc). When you do that you have to pull down the master fader. Just make sure you don't hear distortion on the individual or bus channels- which may have peaks hitting the red- while your master fader is not in the red. I ascribe to loud is better because that's what most of my clients want. I can understand that other people don't want that.
|
|
|
Post by M57 on Jul 7, 2017 9:08:25 GMT -6
It's a lot simpler to just pull the master fader down than pull all the individual channel and bus faders down. It's a cause/effect process. As your individual tracks get hotter you pull the two bus fader down. This can happen a lot during the mix process. That's what I found myself doing, and my master fader is down about 4db right now. Not too bad, but.. ..it occurs to me that I could put every channel in a group and lower all tracks 4db (simultaneously) and that way keep the master at unity. My spidey gain-staging senses tell me there's should be a compromise somewhere between those two methods. Optimally, I should be able to throw up faders at exactly the right place the first time. Maybe that comes with experience, knowing your system and always listening at the same levels.
|
|
|
Post by EmRR on Jul 7, 2017 9:34:08 GMT -6
I try to land mixes around -6dBFS, gives mastering more room to work. I adjust faders as needed and I prefer not to reduce a master fader to make up for everything else going too hot. I don't clip any part of digital on purpose. You can't come back from that, and there are numerous cases of that destroying an otherwise decent mix. It may work for you if you want 'exciting/brittle/shrill' that sounds like it's too loud even when it's too quiet. I don't. Seems to work fine on some converters also, others not. If your monitoring is average to poor, you may not notice the destruction wrought by digital clipping. Someone else will.
|
|
|
Post by wiz on Jul 7, 2017 15:44:16 GMT -6
A lot of this can depend on if you are all ITB.. thats something Billy Decker is, all ITB... if you are interfacing with outboard, levels are more important, and lower.
cheers
Wiz
|
|
|
Post by ChaseUTB on Jul 9, 2017 21:47:08 GMT -6
Mix into your two bus from the start whatever that may be, whether naked or full mixbus chain... You will find you don't need to keep pushing things up, also, if drums are peaking around -10dbfs we'll add two more uncompressed tracks and your peaks are now around -6dbfs easily bring those drums down -12 or so and compress if needed and move on... work around that level .. try to not go back to turn anything up but down...
I will never pull a clipping fader down that's not a solution to clipping and will cause audible distortion once the track is out of that daw ... ( experience)
|
|
|
Post by M57 on Jul 10, 2017 4:19:51 GMT -6
Thanks guys. Right now I'm 100% ITB after tracking. I'm familiar with the -6dbfs left for mastering "rule," Strangely enough, when I mixed into a packed 2-buss, taking everything off it left me with mixes that peaked at -10 or even -12dbfs, and some of my channel faders were ridiculously low. That's one of the reasons I decided to try mixing into a naked 2-buss.
|
|
|
Post by ChaseUTB on Jul 10, 2017 22:18:43 GMT -6
Thanks guys. Right now I'm 100% ITB after tracking. I'm familiar with the -6dbfs left for mastering "rule," Strangely enough, when I mixed into a packed 2-buss, taking everything off it left me with mixes that peaked at -10 or even -12dbfs, and some of my channel faders were ridiculously low. Â That's one of the reasons I decided to try mixing into a naked 2-buss. Why are you mixing into a two bus and then taking it off ? That's makes no sense of course the levels and sounds will be drastically different...
|
|
|
Post by M57 on Jul 11, 2017 4:14:06 GMT -6
Thanks guys. Right now I'm 100% ITB after tracking. I'm familiar with the -6dbfs left for mastering "rule," Strangely enough, when I mixed into a packed 2-buss, taking everything off it left me with mixes that peaked at -10 or even -12dbfs, and some of my channel faders were ridiculously low. That's one of the reasons I decided to try mixing into a naked 2-buss. Why are you mixing into a two bus and then taking it off ? That's makes no sense of course the levels and sounds will be drastically different... I'm not sure what you mean. Whereas before I would throw some compressors on the 2 and apply a lot (too much) of make up gain as I tried to work toward the final, this time I simply put nothing on the 2 and put together as dynamic but balanced a mix as possible with the idea that if it sounded good with nothing on the 2, it would sound tons better fully mastered. After doing this, and I had considerable success, I did nonetheless run into what I consider some of the flaws of the approach. Namely, I wasn't able to predict how 2 buss compression would affect many elements. I actually learned a lot from the exercise. I think in the future, I'll probably throw on a compressor so I can hear how things will be affected, then boost things up 5 or 6 dbfs into a limiter with the idea that if I see/hear the limiter working, my mix is too hot. Once the mix is where I want it, just take off the limiter and bang, ready for mastering. One added benefit of having very little on the 2 is that it puts less CPU drain on the project as I'm working. Not a problem for the big boys, but I bring my little Imac to its knees all the time.
|
|
|
Post by adamjbrass on Jul 11, 2017 8:33:09 GMT -6
Fully naked here,
Though, there are only like, 2 or 3 bus compressors I actually like using on the mix buss. Most of them I would rather use inside the mix, or in another studio when mastering the material. I have NEVER ever, not once "got along" with starting a mix out with a 2-shoot compressor. I can see why that would be useful to some people, but to me, its totally inadequate and crippling. I always slap it on at the last moment, when I am 98% of the way there with my mix, to dynamically shape what I have done and glue it together and make it louder. If I even need that...there are more ways to skin that fish. I like to make it louder using some sort of peak limiting, before mastering. That doesn't bother me. But, I don't use compression as a special effect though, I use it to control the dynamics and peaks and ultimately make something louder or more controlled, or maybe even quieter.
EDIT: i never go higher than -3dBFS Peak with +18, or +24 converters
These days I am shooting for -14 / -20 LUFS loudness, but for me, loudness and playback level depends on the material. Some material sounds better, quieter. Some material sounds better, louder.
|
|
|
Post by Johnkenn on Jul 11, 2017 9:04:16 GMT -6
I've got a Mixing 101 question. Normally, I throw compression on the 2-buss as I'm mixing, partly because it sounds better, but also to get a feel for how things will glue when mastered. So this time I'm experimenting by working on remixing a song with nothing on the 2 as I mix. I always take care to leave a good amount of headroom when tracking (usually -16 to -12db and maybe -9 db max). So I started with the bass and drums and as I was mixing I wasn't really paying that much attention to the meter on the 2. Then on to the piano and guitars, then the lead vocal. I haven't even gotten to the BVs and strings and of course all of a sudden I'm noticing that peaks are touching 0db, so I'm going to have to either pull everything down or bring the master fader down. Also, I got to thinking that other than leaving a little room for some EQ tweaks up front, I'm going to be hitting at least 2 compressors when I master and I'm going to need to apply make-up gain anyway, so maybe I shouldn't mind if things get hot. So I have a couple questions. How do you all decide where to throw up faders when you start mixing, and what levels do you like to see on a naked 2-buss? ..or do you always start with something on the 2? Any other thoughts regarding what you aim for on the 2-buss? Headroom. At least that's the way I always looked at it. When I get a mix, I usually select all, zero out all the faders and the select all and bring them all down about half way. Then start mixing from drums up. Inevitably, the levels will creep up on the mix bus. If that happens, I just select all, being careful with AUX sends and master returning/remaining at zero and pull everything down again. Then with a nominal level going into the 2 bus, you can increase decrease the input on the 2 bus compressor/limiter. My 2 bus is very often different, but I generally gain-stage through an EQ and compressor...maybe a tape sim (haven't been choosing it lately) and then limiter. Sometimes multiband comp.
|
|
|
Post by massivemastering on Jul 11, 2017 9:12:26 GMT -6
Random thoughts from a mixing *and* mastering perspective (I don't mix much anymore, but when I do...)
HEADROOM: Digital is digital. *ANY* headroom on the 2-buss is fine. 6dB, 3dB, 12dB, 1dB -- As long as it's there "naturally" (not the limiter) and what not, it's enough. The "leave 6dB for the mastering guy" thing is -- well, I'm not even sure where it came from. Probably from guys who want to "take credit" for loudness. And as guilty as I am as the next guy for contributing to the loudness war (under protest in my case), I would hope that the client would already know how their mixes are going to handle "volume abuse" - which brings me to:
LIMITING THE 2-BUSS: And this is something that I always did when mixing, even long before digital. I'd get the mix where I wanted it (admittedly, usually with a dB or two of "glue compression" but more for the character of the compressor than anything else) --- and then I'd crush the hell out of it. It's revealing. "Back in the day" it would let you know how it would handle broadcast -- Is the side information whacky? Do the vocals get swallowed? Is the snare snapping out? Is the release on the kick compressor too fast (or too slow)? Are there noises that I didn't hear earlier?
I *encourage* clients to smash the living hell out of their mixes as a tool. There are so many places for the mix to be subject to dynamic changes -- The mastering phase, broadcast, "SoundCheck" type algorithms in portable players -- I wanted to know how my mixes were going to hold up against the worst abuse and more times than not, I'd make certain changes after "weaknesses" were revealed by that limiter. Might be tapping a little 200Hz down on the snare. Might be 400Hz on the kick. Might be less top on the kick. Maybe the hat is too loud. Maybe the vocal needs a little air. Maybe the reverb disappears. Maybe it takes over completely.
So I'd have a mix that sounded "fine" and then I'd thrash it mercilessly to see how it held up, then possibly make a few minor adjustments that -- in most cases -- made it a better sounding mix in the end anyway. Then I'd print those mixes (without that limiter, of course) and drag them over to the mastering studio (there was no electronic delivery at the time) and know that unless he did something stupid, they were going to sound fine. OF COURSE, back in the day, the "war" wasn't in full-swing yet. But the same tools still apply.
|
|
|
Post by jin167 on Jul 11, 2017 10:32:23 GMT -6
Random thoughts from a mixing *and* mastering perspective (I don't mix much anymore, but when I do...) HEADROOM: Digital is digital. *ANY* headroom on the 2-buss is fine. 6dB, 3dB, 12dB, 1dB -- As long as it's there "naturally" (not the limiter) and what not, it's enough. The "leave 6dB for the mastering guy" thing is -- well, I'm not even sure where it came from. Probably from guys who want to "take credit" for loudness. And as guilty as I am as the next guy for contributing to the loudness war (under protest in my case), I would hope that the client would already know how their mixes are going to handle "volume abuse" - which brings me to: LIMITING THE 2-BUSS: And this is something that I always did when mixing, even long before digital. I'd get the mix where I wanted it (admittedly, usually with a dB or two of "glue compression" but more for the character of the compressor than anything else) --- and then I'd crush the hell out of it. It's revealing. "Back in the day" it would let you know how it would handle broadcast -- Is the side information whacky? Do the vocals get swallowed? Is the snare snapping out? Is the release on the kick compressor too fast (or too slow)? Are there noises that I didn't hear earlier? I *encourage* clients to smash the living hell out of their mixes as a tool. There are so many places for the mix to be subject to dynamic changes -- The mastering phase, broadcast, "SoundCheck" type algorithms in portable players -- I wanted to know how my mixes were going to hold up against the worst abuse and more times than not, I'd make certain changes after "weaknesses" were revealed by that limiter. Might be tapping a little 200Hz down on the snare. Might be 400Hz on the kick. Might be less top on the kick. Maybe the hat is too loud. Maybe the vocal needs a little air. Maybe the reverb disappears. Maybe it takes over completely. So I'd have a mix that sounded "fine" and then I'd thrash it mercilessly to see how it held up, then possibly make a few minor adjustments that -- in most cases -- made it a better sounding mix in the end anyway. Then I'd print those mixes (without that limiter, of course) and drag them over to the mastering studio (there was no electronic delivery at the time) and know that unless he did something stupid, they were going to sound fine. OF COURSE, back in the day, the "war" wasn't in full-swing yet. But the same tools still apply. words got twisted somewhere down the chain probably. Or perhaps from the days when the bit-depth of the processing program was limited. Nowadays it should be about leaving the dynamic range (or PLR) of the music intact because once it's gone, it's gone.
|
|
|
Post by jcoutu1 on Jul 11, 2017 10:49:15 GMT -6
Random thoughts from a mixing *and* mastering perspective (I don't mix much anymore, but when I do...) HEADROOM: Digital is digital. *ANY* headroom on the 2-buss is fine. 6dB, 3dB, 12dB, 1dB -- As long as it's there "naturally" (not the limiter) and what not, it's enough. The "leave 6dB for the mastering guy" thing is -- well, I'm not even sure where it came from. Probably from guys who want to "take credit" for loudness. And as guilty as I am as the next guy for contributing to the loudness war (under protest in my case), I would hope that the client would already know how their mixes are going to handle "volume abuse" - which brings me to: LIMITING THE 2-BUSS: And this is something that I always did when mixing, even long before digital. I'd get the mix where I wanted it (admittedly, usually with a dB or two of "glue compression" but more for the character of the compressor than anything else) --- and then I'd crush the hell out of it. It's revealing. "Back in the day" it would let you know how it would handle broadcast -- Is the side information whacky? Do the vocals get swallowed? Is the snare snapping out? Is the release on the kick compressor too fast (or too slow)? Are there noises that I didn't hear earlier? I *encourage* clients to smash the living hell out of their mixes as a tool. There are so many places for the mix to be subject to dynamic changes -- The mastering phase, broadcast, "SoundCheck" type algorithms in portable players -- I wanted to know how my mixes were going to hold up against the worst abuse and more times than not, I'd make certain changes after "weaknesses" were revealed by that limiter. Might be tapping a little 200Hz down on the snare. Might be 400Hz on the kick. Might be less top on the kick. Maybe the hat is too loud. Maybe the vocal needs a little air. Maybe the reverb disappears. Maybe it takes over completely. So I'd have a mix that sounded "fine" and then I'd thrash it mercilessly to see how it held up, then possibly make a few minor adjustments that -- in most cases -- made it a better sounding mix in the end anyway. Then I'd print those mixes (without that limiter, of course) and drag them over to the mastering studio (there was no electronic delivery at the time) and know that unless he did something stupid, they were going to sound fine. OF COURSE, back in the day, the "war" wasn't in full-swing yet. But the same tools still apply. This post is gold.
|
|
|
Post by svart on Jul 11, 2017 12:14:15 GMT -6
I slam it until it sounds good. Frequently +6 on the dorrough and pegged in the yellow/red on the digital meters.
You can say it's just short of digital crackle.
|
|
|
Post by noah shain on Jul 11, 2017 17:55:01 GMT -6
It's worth noting that the digital ppm meters have just about nothing to do with VU and all the standards that come with VU. I think engineers who work in the VU (analog) domain depend on VU meters a LOT and all the standards that were set through hard lessons. If you didn't come up using real VU meters in the analog domain you can probably ignore everything you've read or were told about VU levels. The DAW meters are a completely different beast and although there are a lot of "best practice" rules from the pre-daw era, many of them are irrelevant in the digital realm, although some plug ins have some sort of 0 reference designed into them and respecting it can produce good results. Sometimes abusing them can too.
Back on topic, hot levels itb won't hurt you. That's where you can kinda forget all the VU standards of the analog realm.
I do start building a 2 bus chain early but I start with it naked. Once I have the foundation of the mix rocking I spend some time on the 2 bus stuff and see what's gonna work there. By that time I have a pretty good feel for the track and I know what kind of flavor might be missing but it gets tweaked endlessly...right up to and during the print. If I recorded the song then I probably have a better idea and some saved sessions with some 2 bus treatments I used in reference mixes. Those are PURE instinct/feel choices. I'll usually throw them out thinking I can do better and then come back to them later😂
Short answer is I ALWAYS have stuff on the 2 bus. One good tip is if you're gonna heavily treat your 2 bus, do it in stages. Experiment with a couple, 2, 3 compressors subtly instead of slamming the meters around on 1.
I read a Tchad Blake quote somewhere that went something like "what DONT I put on the 2 bus"
|
|
|
Post by wiz on Jul 11, 2017 18:03:26 GMT -6
By no means take this as inflammatory....
You guys who don't care what level your 2 buss is operating at ITB, how do you feel about the levels your audio interface is putting out to you power/amp speakers and running them at their best sonic point?
cheers
Wiz
|
|
|
Post by noah shain on Jul 11, 2017 18:14:31 GMT -6
By no means take this as inflammatory.... You guys who don't care what level your 2 buss is operating at ITB, how do you feel about the levels your audio interface is putting out to you power/amp speakers and running them at their best sonic point? cheers Wiz I am rarely all itb these days but when I am I'm mixing really hot. My dac is adjustable. I can turn it down if it's pegging the meters on the console. Another trick is to mix in to an Aux track as your 2 bus and do all your processing there. Aux tracks are routed differently than master faders in PT. Pulling down your aux track 2 bus fader won't affect your plug ins on that track. On a master fader you are pulling down the level feeding the plug ins when you pull down the fader. No good for fade outs!! If you use an Aux your level to the plugs is set by the channel faders of the mix only. Move the aux fader and your compression and stuff stays the same. Then you can use a master fader on the output of that track for the headroom and dither. Then you can pull that empty master fader down without affecting the compressors or saturators on your 2 bus. At least in PT you can. FWIW I use a bunch of master faders in PT with the multiple busses. If I have a bus that's receiving complex program then I put a master fader on it. I swear it sounds better. ZERO science behind that...pure anecdote. But I swear it does.
|
|
|
Post by donr on Jul 11, 2017 18:28:07 GMT -6
In the vinyl days when it was all analog, the pro guys might pull down all the channel faders once in a while if the gain staging within the console got out of hand. Sometimes the master bus meters would peg, but no engineers I worked with would slam the console for sonic reasons into the 2 trk tape machine. Levels were ulitimately respected for fidelity.
|
|
|
Post by svart on Jul 11, 2017 19:56:24 GMT -6
By no means take this as inflammatory.... You guys who don't care what level your 2 buss is operating at ITB, how do you feel about the levels your audio interface is putting out to you power/amp speakers and running them at their best sonic point? cheers Wiz Mine is hitting the DAC at the same level that it hit the ADC, so if it's not crackling already, then it's fine.
|
|
|
Post by indiehouse on Jul 11, 2017 21:01:19 GMT -6
By no means take this as inflammatory.... You guys who don't care what level your 2 buss is operating at ITB, how do you feel about the levels your audio interface is putting out to you power/amp speakers and running them at their best sonic point? cheers Wiz I am rarely all itb these days but when I am I'm mixing really hot. My dac is adjustable. I can turn it down if it's pegging the meters on the console. Another trick is to mix in to an Aux track as your 2 bus and do all your processing there. Aux tracks are routed differently than master faders in PT. Pulling down your aux track 2 bus fader won't affect your plug ins on that track. On a master fader you are pulling down the level feeding the plug ins when you pull down the fader. No good for fade outs!! If you use an Aux your level to the plugs is set by the channel faders of the mix only. Move the aux fader and your compression and stuff stays the same. Then you can use a master fader on the output of that track for the headroom and dither. Then you can pull that empty master fader down without affecting the compressors or saturators on your 2 bus. At least in PT you can. FWIW I use a bunch of master faders in PT with the multiple busses. If I have a bus that's receiving complex program then I put a master fader on it. I swear it sounds better. ZERO science behind that...pure anecdote. But I swear it does. That's how I roll with it. Everything is routed to an aux I label SUBMASTER, which feeds to the master fader.
|
|
|
Post by dandeurloo on Jul 11, 2017 23:15:07 GMT -6
By no means take this as inflammatory.... You guys who don't care what level your 2 buss is operating at ITB, how do you feel about the levels your audio interface is putting out to you power/amp speakers and running them at their best sonic point? cheers Wiz I am rarely all itb these days but when I am I'm mixing really hot. My dac is adjustable. I can turn it down if it's pegging the meters on the console. Another trick is to mix in to an Aux track as your 2 bus and do all your processing there. Aux tracks are routed differently than master faders in PT. Pulling down your aux track 2 bus fader won't affect your plug ins on that track. On a master fader you are pulling down the level feeding the plug ins when you pull down the fader. No good for fade outs!! If you use an Aux your level to the plugs is set by the channel faders of the mix only. Move the aux fader and your compression and stuff stays the same. Then you can use a master fader on the output of that track for the headroom and dither. Then you can pull that empty master fader down without affecting the compressors or saturators on your 2 bus. At least in PT you can. FWIW I use a bunch of master faders in PT with the multiple busses. If I have a bus that's receiving complex program then I put a master fader on it. I swear it sounds better. ZERO science behind that...pure anecdote. But I swear it does. For some reason I NEVER use MAster faders in PT. I only use AUX's. I have a feeling I am missing out. I also don't use Group faders. I use AUX's. I keep thinking I need to learn or reshape my work flow to use those? But mostly I am just trying to get out of the DAW into the console!
|
|
|
Post by dandeurloo on Jul 11, 2017 23:21:22 GMT -6
In the vinyl days when it was all analog, the pro guys might pull down all the channel faders once in a while if the gain staging within the console got out of hand. Sometimes the master bus meters would peg, but no engineers I worked with would slam the console for sonic reasons into the 2 trk tape machine. Levels were ulitimately respected for fidelity. My console has a sweet spot. It seems to be about 90% up on the master fader and with the meters swinging into the Red. I get really nice clarity and color all at the same time. If I turn it down I lose the vibe and if I turn it up it gets kind of mushy and loses the punch. So, it is important to know your gear and where it sounds good so you can set you mixes up around those desired gain stages. The tricky one for me is the print level into the ADC. I need to build a few small stepped attenuators for into my ADC. The built in -10db pads on the RMA ADC's are always to much.
|
|
|
Post by Johnkenn on Jul 12, 2017 16:53:03 GMT -6
I am rarely all itb these days but when I am I'm mixing really hot. My dac is adjustable. I can turn it down if it's pegging the meters on the console. Another trick is to mix in to an Aux track as your 2 bus and do all your processing there. Aux tracks are routed differently than master faders in PT. Pulling down your aux track 2 bus fader won't affect your plug ins on that track. On a master fader you are pulling down the level feeding the plug ins when you pull down the fader. No good for fade outs!! If you use an Aux your level to the plugs is set by the channel faders of the mix only. Move the aux fader and your compression and stuff stays the same. Then you can use a master fader on the output of that track for the headroom and dither. Then you can pull that empty master fader down without affecting the compressors or saturators on your 2 bus. At least in PT you can. FWIW I use a bunch of master faders in PT with the multiple busses. If I have a bus that's receiving complex program then I put a master fader on it. I swear it sounds better. ZERO science behind that...pure anecdote. But I swear it does. For some reason I NEVER use MAster faders in PT. I only use AUX's. I have a feeling I am missing out. I also don't use Group faders. I use AUX's. I keep thinking I need to learn or reshape my work flow to use those? But mostly I am just trying to get out of the DAW into the console! You talking about VCA faders?
|
|
|
Post by EmRR on Jul 13, 2017 6:44:18 GMT -6
The "leave 6dB for the mastering guy" thing is -- well, I'm not even sure where it came from. Avoiding the need to add an additional analog attenuator to knock levels down where they interface well with comp thresholds, EQ overload points, etc.
|
|