Mix Buss Processing

The mix buss to me is a very sacred thing. It's easy to screw up in a second what I've spent hours to sculpt in a mix so I take the minimalist approach really, never waiting till the print to fix anything. So with that I mix looking ahead knowing what my comp and eq is going to impart (used the same setup for years). Always comp first (HPF sidechain engaged) them some eq if needed (usually only subtractive except for the "air" freq). Boost there from time to time. Might de ess after that if needed. Sometimes I'll use the Ampex tape sim, depends on the tune. Always set my brickwall at -10 to -11 rms for cohesion between tracks.

My thoughts are we should be smiling with a mix before we get ready to look at the buss mix. So usually, putting things on the buss strip makes me frown instead of smile, then I'll quickly take it off.

My 2 cents. YMMV

I'm a eq before comp guy, except on the mix bus, analog btw. Cartec EQPs last in chain to give the final touch, just like jcoutu. Can't really say why though

Cowboy, do you find that addressing the buss later results in many adjustments?

No not really.  I try to do the least I can to it.  What I hear while mixing is what I want to hear for a final.  Basically just want it louder and squeezed a tad to catch the peaks.  I'm a firm believer that there's nothing I can do at the mastering stage to help a bad mix.  It will just be a louder bad mix.  

I try to print at about 0 to plus 4 as well so I don't have to run a limiter so hot to get to level.  I find that even the cleanest limiters impart something, and I usually don't like it.

Fairly recently I started the EQ and Comp on the Mixbuss at the outset of tracking and that, combined with more emphasis on the drum buss instead of individual drum channels has completely changed my mix flow and sound for the better. I don't have hardware, but use the IK Classic EQ into the Waves SSL Comp on the Mix Buss. The IK allows me to pull the lows to the center and raise the highs on the sides with its M/S options. I typically mix with just those due to processing power issues, then when I get close to the end, I throw on the Slate VTM and run that into FG-X. I use FG-X on the drum buss as well. That and IK Classic EQ are the only things I stick on the drum buss. Again, IK is just to center the kick and spread the OHs.

I don't disagree with the opinion that the mix should sound as good as possible without additional eq. It's just that the Pultec style eq (Cartec here) on the buss sounds so d*rn good so I add quite a lot of it early in the mix session and boost less on the console (Ok I admit, I'm talking mostly treble here). If the album is fairly consistent, like most of the stuff I do, I usually fine tune on the first songs and eventually find a setting all over which becomes like a signature for the album. Perhaps not the purist way, but I like the result!

I think I'll add more detail. I most definitely mix INTO a 2-bus compressor all the time. It's just whether or not I use EQ that is always in question. I've been finding that I'm using less and less EQ over the years anyway.

I've been having great luck lately with this chain on the 2bus-Slate VTM-Maag eEQ4(a little air band never hurt anyone i know)-Slate FG-X. Mixing into that from the start has given me results I am quite pleased with.

cowboy, I was wondering if you could elaborate on the idea that "sometimes clean plug-ins are just better on the buss". When did you find it was better, any particular kind of production? Any particular song of yours.

 Unfortunately, it takes me a long time to wrap my head around things that some folks here find easy, like making a stereo mix and then doing a new, and separate mastering project. I find I integrate things slowly, so I never got into bouncing a clean mix and then doing a "mastering" session. I just try to get the best sound I can, mix into the mastering tools, and that's it. I tend to leave the FG-X off for as long as I can, use the Slate VCB and UAD Ampex 102 to dress the mix in the style that suits the song. The Ampex is easy, as it creates a background the mix sits in front of, the VCB requires more thinking, but the presets are good, so you can scroll and go if you want. I find the UAD 30ips setting on the 102 is generally very good on everything, and the Richard Dodd preset good is a starting point for Rock songs, although it thins things out a bit, so you have to tweak it.

 In theory, what's the difference between having a stereo bounce called the final mix, and then a separate mastering session, or just running that final mix through the same plugs you would master through anyway? It seems my way saves a bounce. Is mixing into the mastering plugs considered something that typically hides flaws in final mixes, or is it an advantage? 

 Call me superstitious, but any time I avoid a stage, I feel better about it. If I wanted to have the final, with mastering plugs mix to send to a real mastering suite, I could just run it as is, mp mastering plugs, call it "plain" final mix, no? I'm certain I'd like having a DAC and an ADC, like a Burl, but otherwise, I kind of like the way the plugs are so easy to try presets on. Given all the time in the world and a full suite of analogue toys, I think analogue would still win out. But in general, with time being such an important factor in today's productions, the ability to try 20 different presets on an Ampex plug trumps actually having the reel to reel in your studio, even if the tape sounds better one on one in a test situation.

I will usually go outboard through the VC528's and record the 2 mix. Then on the master, I'll have VCC, and SPL Vitalizer using just the stereo spread to add a little width. I'll usually gain stage with the UAD Ampex using one of the mastering presets and adjusting to taste. 30ips .5 inch tape. Then maybe VBC...maybe...or Slate FG-x. I've been wondering whether the Slate is adding a little top end, so lately I've been going back and forth with FF Pro-L.

That’s pretty much what I like too, though the past year I’ve been doing the Breaur set up with a multi buss out from my SSL 6k and running an eq last on the Program insert. It’s been working out nice. I think it’s better then adding a lot of eq on all the individual channels, especially top end.

VCC (Trident usually)
SSL Comp (waves)
Mpx Master Tape (waves)
Clariphonic

Once it starts sounding close I start putting some mastering stuff on it. Gclip and Sonnox Limiter.

I used to use an RJR Sick Sick Bus Comp with the Tonebuss, that was a cool rig too.