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Post by copperx on Jul 30, 2024 15:36:59 GMT -6
... do you find that mastering changes your mix too much?
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Post by dcarvak on Jul 30, 2024 17:21:43 GMT -6
... do you find that mastering changes your mix too much? If you’re not mixing through a 2bus compressor and you’re sending your mix off for mastering I don’t know why you’d throw on a compressor there unless you have a specific sound with your gear you want imprinted on there. To answer your question though, it really depends on how much the dynamics are needing to be controlled at the mastering phase. If they don’t really have to mess with them too much then maybe not that aspect of it but I’d still expect the eq and limiting to affect the sound. |
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Post by bgrotto on Jul 30, 2024 22:18:45 GMT -6
... do you find that mastering changes your mix too much? It's why I became really keen on using a compressor on the 2-buss in the first place. And over the years, it's grown into a sometimes-elaborate mix buss chain...basically, I just do whatever it takes to make the mix sound 100% finished, and operate on the assumption that the track won't be mastered. The only thing I tend to avoid is applying a limiter, though I mix through one in the monitor path, typically shaving off about 3db or so, to hear how it reacts and to quickly be able to provide clients with loud reference mixes. That said, if I bypass the limiter and the mix sounds worse for it, I'll happily bump it over to the mix buss and print through it. This is rare, but it happens. Sometimes that limiting becomes a real part of the mix's character, in which case, I don't see a lot of sense in removing it. |
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Post by copperx on Jul 30, 2024 23:53:59 GMT -6
... do you find that mastering changes your mix too much? It's why I became really keen on using a compressor on the 2-buss in the first place. And over the years, it's grown into a sometimes-elaborate mix buss chain...basically, I just do whatever it takes to make the mix sound 100% finished, and operate on the assumption that the track won't be mastered. The only thing I tend to avoid is applying a limiter, though I mix through one in the monitor path, typically shaving off about 3db or so, to hear how it reacts and to quickly be able to provide clients with loud reference mixes. That said, if I bypass the limiter and the mix sounds worse for it, I'll happily bump it over to the mix buss and print through it. This is rare, but it happens. Sometimes that limiting becomes a real part of the mix's character, in which case, I don't see a lot of sense in removing it. Cool, have you posted about your setup in the forum? |
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Post by niklas1073 on Jul 31, 2024 0:21:46 GMT -6
I think the question is more complicated than so. First you need to define the purpose of 2 bus compression. It is not equivalent with limiting which I always leave for for the master engineer. 2 bus compression is not so much about compression, after all, we talk about a couple of db of gr max. I see it as the last stage of each tracks compressor chain. The vocal chain for example from tracking to mix bus can consist of a chain of 5-7 compressors in my case. The 2 bus brings the mix together and defines the final identity of the mix. It is an essential part of understanding bus mixing. It's not the master engineers job to finalize or package your mix. His/her job is to master. So leaving the 2bus out and expecting someone else to wrap it up would leave me in the blind of how my mix actually turned out.
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Post by theshea on Jul 31, 2024 0:39:56 GMT -6
... do you find that mastering changes your mix too much? yes. |
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Post by bgrotto on Aug 1, 2024 19:23:37 GMT -6
It's why I became really keen on using a compressor on the 2-buss in the first place. And over the years, it's grown into a sometimes-elaborate mix buss chain...basically, I just do whatever it takes to make the mix sound 100% finished, and operate on the assumption that the track won't be mastered. The only thing I tend to avoid is applying a limiter, though I mix through one in the monitor path, typically shaving off about 3db or so, to hear how it reacts and to quickly be able to provide clients with loud reference mixes. That said, if I bypass the limiter and the mix sounds worse for it, I'll happily bump it over to the mix buss and print through it. This is rare, but it happens. Sometimes that limiting becomes a real part of the mix's character, in which case, I don't see a lot of sense in removing it. Cool, have you posted about your setup in the forum? I'm not actually sure. My starting chain is 1.TDR Infra (the sub button is so insanely awesome on this thing) 2. LTL Silver Bullet (sold my HW, this plug is a pretty damn good substitute) 3. Some kind of compressor. Mostly using plugs lately due to recall needs, but I typically use something in the VCA vein. For plugs, it's either PA Shadow Hills (the newer one), or the newish PA Glue. For hw, it's either a Dramastic Obsidian (like 90% of the time) or a Smart. Occasionally these don't work, and I'll use a VariMu. For plugs, it's the Mu from Pulsar or the new Lindell 66 (this thing is fucking GREAT). For hw it's usually a Manley. Sometimes a Chandler TG1 is nice here. In some rare-ish instances I use a diode bridge type thing. HW only; plugs kinda suck at this IMO. I like a Neve 33609 or a BAE 10DCF. 4. Mix Head, almost always at 15ips 5. Sometimes I'll use Bloom here, usually not, though. 6. Sometimes I'll use Gold Clip or a Limiter here, but rarely. If the client wants FUCKING LOUD than I'll probably fire up one or even both of these and mix into them. 7. the new SideMinder plugin. Holy shit this thing rules. I automate the daylights out of it add width to choruses, tighten the second verse, etc. So fucking great. Probably the biggest like 'automatic' mix improvement for me in the last year or so. I've also got an Ozone preset I made that was inspired by that Streaky Tight Arse plugin. I use it on most mixes, and it can live in a few different places depending on the material. Though typically it starts either right before or right after the Silver Bullet plug. This chain is entirely active the minute I start a mix; I mix through it from minute one of work. I've got it dialed into specific settings that I use as starting points, and I don't usually fine tune any of them till pretty far into the mix. They just 'do the thing' for me and it makes my work move waaaay faster. |
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