Gain compensation makes it easy to determine the right amount of limiting for any mix. Limiters are the most dangerous tools we’ve got. You don’t use gain compensation on your limiter If you find yourself digging in deeper, make sure you’re not trying to solve a problem that can be fixed on an individual track (see #3 above). But most of the time, subtle is the way to go.īe gentle. Low-ratio compression and broad, tempered EQ curves often sound best. Sometimes, aggressive mix bus processing makes sense. Since slower attack times preserve transients, they’re usually a better choice (especially on the mix bus). They add energy and life to music, and taming them can make a mix sound flat and unexciting. Transients are the short bursts of sound at the beginning of notes. You use fast-attack compressionĪt first listen, they can make a mix sound smoother and more controlled. Get this right, and you’ll optimize your mix bus for peak performance. So to get the most out of your mix bus, make sure you’re hitting it at the right level.Īim for around -18 dB on your DAW’s meters (this is average level…the peaks can jump above -18 dB). This will put you in the sweet spot of most plugins. ![]() Many plugins sound different depending on how hard you hit them. If your mix bus looks like this, you’ve got a problem… Inside the guide, you’ll discover how to approach mix bus compression with clarity and confidence-which will help you craft mixes that compete with the pros. ![]() And if you want to supercharge your mix bus processing skills, download my free guide to mix bus compression below. When I listen to these tracks today, I cringe.Īvoid these nine pitfalls, and you’ll sidestep some of my biggest mix bus slip-ups. I crushed, slammed, distorted, over-compressed, and over-EQ’d nearly every mix I made. “What’s on your mix bus?” became my favorite ice breaker.īut along the way, I made every mistake in the book. I copied the chains of my favorite mixers. In the year that followed, I became obsessed with my mix bus. I’ll never forget the first time I mixed on an SSL.įrom the moment I kicked it in and watched the meter dance, I was hooked. Below is a breakdown of the UAD Powered Plug-Ins I used on the 2-bus to shape the track.I’ll never forget the first time I mixed on an SSL…Īnd when I automated stuff, the faders actually moved. Here is the song “I Know U Know” by Tatiana Owens, produced by EMW Music Group for our charity album Shuffle. I find that this 2-bus focused approach speeds up my workflow and allows me to achieve the sound I'm looking for faster, giving me more time to focus on the creative elements of my mixes. ![]() Every mix engineer has their own preference, and to each their own, but my personal preference is to use 2-bus processing to help me bring my mix as close to a final product as possible.Īn added benefit of 2-bus processing is it allows me to do less processing on the individual tracks, leaving more room for dynamics, while simultaneously gluing together my mixes in a pleasant way. Processing the mix bus - or 2-bus - can be a touchy subject as it rides the fine line between the mixing and mastering process. In his latest tutorial from, Lindell shows how he uses the power of UAD plugins to bring a mix to life with 2-bus processing. Ben Lindell is a NYC-based producer/mixer who has worked with artists such as 50 Cent, Amanda Brown, MGMT, and Wale, among others.
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