For the guys that mix ITB

[Jonny Mumra]

Maybe a few comments as to why or why not would be great.

[George Necola]

because of lowbudget productions I do my 2 bus slamming in cubase..

so a PSP mix EQ, Sonalksis 315 (evaluating) and a bluetubes V2 brickwall limiter.

thats it.

[toolskid]

depending on the project I may use a selection or all of the following...

comp (hardware or software), eq (hardware or software), limiter

nothing particularly unusual there I suppose, I may throw on things like the cranesong pheonix or other colouring/dynamic varying plugs, but not always!

[Pomello]

Waves RenComp,Sony Inflator.

[Phrygian]

At first I used just Waves LinMB and L2, now I'm using Waves RComp, C1 6bandEQ and L2 as well as Ozone Izotope and I've ditched the LinMB (it was killing resources).

I may start experimenting more with Izotope and drop the L2 (it can be great at times and kill a mix other times). I think Izotope might be more forgiving. (I hope). Heck, I might try to do everything with Izotope in the master.

I just got PSP MasterComp and am anxious to try it out.

[blaugruen7]

you guys mix with a limiter?
i mix everything -6db max.

[Phrygian]

Originally Posted by blaugruen7

you guys mix with a limiter?
i mix everything -6db max.

Towards the end of the session I engage the L2. I need it so I can tell if I'm squashing my mix or if my headroom is good. If I'm good I'll push it a bit more.

[zetterstroem]

i do a basic mix..... and when i think it's about there i strap something on the mix buss....

[Winey]

Light bus compression and maybe a hint of eq.
It's not uncommon to mix through a comp (SSL or whatever) and a bit of GML eq when I work analog, so I simulate the same when working ITB.
Sometimes I'll use a hardware comp from the master fader and bring it back into the computer. So, it's summed ITB, but the mix bus is being processed analog.
I'll limit for a test cd, but the mastering guy gets the processed version without the limiting.

[theblue1]

I have a mixing style that grew out of my experience in tape-based studios, even though I've been working exclusively to hard drive since '96.

(I've been mostly mixing ITB since around 2001 -- before that I used to mix out through my 8 ch i/o, folding the slug of MIDI modules I used to use in as I mixed, which kept them as 'pristine' as possible. The first few years I was 24 bit, I was using a 2/2 interface, so I got used to ITB. Now, even though I have a MOTU 828 mkII with a potential of 12 outs and have fooled around a bit with a return to OTB, I almost always mix ITB.)


I leave any bus strap-ons unactivated until I've got the mix more or less as good as I can get it 'bare' -- and then I kick in the Sonic Timeworks Compressor X and EQ that came with Sonar 1 or 2 and 'master' right in my project. (In the 90s, I'd been bouncing my mix to a stereo file, bringing that into Sound Forge, and using the wide range of tools in that pkg to do my 'mastering' [I use quotes, because I'm old enough to remember when an ME was the guy working the cutting lathe... to me, slapping a little EQ and compression on is more just a last-chance fix-up that often was applied before mastering when it turned out that the mix you'd labored on over a pair of 4311's was wildly out of balance [I HATED 4311's after a while and glad no one uses them anymore]... but language evolves with technology and technique, I guess.])

[RainbowStorm]

Yes, I usually mix with effects on the main mix bus in order to be able to find out different things about the mix and to prepare the song for the finalization process.

[AlexLakis]

A project I just finished today (Emo), I used PSP Vintage Warmer, URS Fulltec, Voxengo Elephant, Sonalksis 315, and Waves L3 Multiband. Just a touch from each compressor, dither from the L3, and a little 2K and 10K from the Fulltec.

I generally will not mix with anything on the master fader, and if I do, it's towards the very end of the mixing process. I didn't track this last project, so I found I had to use a lot of processors to manipulate the sound, which was pretty poor, sterile, and digital. The Vintage Warmer really helped a lot, I shunned it for years, but I've been getting better at using it at the right times.

[remo]

for sure.. for my dance stuff I'm all over my master outs.. HPF's, LPF's, autofilter, phaser.. all automated like crazy.. also a bit of limiting..

[respirator]

It's a NO for me.

I've learned that the most important to me getting a decent ITB-mix is keeping the levels down, well below digital max. So any dynamic processing on the master bus would make this difficult.

[Jonny Mumra]

Originally Posted by respirator

It's a NO for me.

I've learned that the most important to me getting a decent ITB-mix is keeping the levels down, well below digital max. So any dynamic processing on the master bus would make this difficult.

Thats a very good point.

I have realised lately how important this is. In fact its crucial.

How do you go with getting the mix to glue so to speak.

Cheers

[AlexLakis]

Originally Posted by respirator

It's a NO for me.

I've learned that the most important to me getting a decent ITB-mix is keeping the levels down, well below digital max. So any dynamic processing on the master bus would make this difficult.

Why would it be difficult? I keep my levels pretty low as well, I just have to set my thresholds a little lower...And EQ still works at low volume levels...

[tamasdragon]

For me MIB is somehow more 'wysiwyg' than analogue, although I love the classic analogue sound. I've worked with many conductors during recording sessions, they always preferred digital, because of it's clarity.
Regards Tamas Dragon

[respirator]

Originally Posted by AlexLakis

Why would it be difficult? I keep my levels pretty low as well, I just have to set my thresholds a little lower...And EQ still works at low volume levels...

It's probably my lack of skills, but I find that dynamic processing "cheats" me re:levels. EQ'ing (which isn't dynamic processing ) on the master bus is no problem, I guess. I just don't see any reason. I'd rather work with the individual tracks and busses.

Also: If I can get the mix exciting without compression on the master bus, then after "mastering" (which I do myself, hence the "") it really shines.

[peter893]

Yes I do mix with plugs on the master.

DUY valve ( on from start of mix)
A compressor used lightly just for glue ( what plug? it depends ) off until the end
DUY Wide ( really off until the end but checking in once in a while)

ususally mixing up to between -4 and -2 db

No limiting or heavy compression on the main buss for me.

[wildstar]

I like to get the mix right without anything on the master fader. Also, I've found that bounced mixes that have limiting and compression on the master (to crank up the level) often sound bad. Kinda reminds of MP3 artifacts or distortion - very fatiguing to listen to.

I'm no mastering engineer, so I suspect it's because I don't know what I'm doing when I apply plugs to the master fader.

But if a job requires me to deliver a finished, "mastered" product, I will bounce the mix and then apply mastering-type processing to the stereo mix in Peak. I get much much better results that way.

But whenever I can, I like to leave the master fader alone. And I like to keep the level down - more headroom on the amster fader = better sound, I've found.

[A Fak]

I've tried lots of combos over the years, but I think I finally got the right formula.

1. Colortone Pro (w/ the SSL 4080G preset). This is on from the beginning of the mixing, but I tweak as I go.

Then when I'm about 4/5's done I turn on:

2. Rcomp (I usually compress about 2-4 dB's).

3. DUY Valve (I want tape but I have to wait for its AU release or Tapetone).

4. URS S or Mix. (To add some high freq's the valve/tape took off)

5. DUY wide.

[SUPA FROST]

I'M KINDA SPLIT WITH THIS! If its going to be mastered then NO. But if its something to give sell at my shows or for any other reason, then I will use anything from UAD-1 1176 or Waves Rcomp or my personal favorite LinMB, all depending on the song.

[beyarecords]

Yes,

From very begining of mix:

Slot 1: ColorTone Pro (Neve, SSL).
Slot 2: RenComp.

4/5ths into mix I activate the following plugs:

Slot 3: PhaseTone (for EQ).
Slot 4: PSP MixSaturator for tape saturation. Will change to TapeTone when it becomes available.
Slot 5: DUY Wide.

Beya

[Matti]

Post fader Elemental IXL, others depending of the project.
Matti

[adamcal]

No because if its going to my favorite mastering studio, ill let them do it. if not

No because if I'm mixing several songs, I prefer to "master" them together as 2 track mixes.

only yes if its definitely not being mastered, and its just one song.

[cdog]

Usuallly not.

But sometimes the Precision EQ and Limiter, if I'm "premastering" the track.

If not, I keep Logic's master fader around -7.

[HDGuru]

I use Impact, followed by the Ren EQ, followed by L2, but I use an Aux as my master because the Master fader inserts are post fader. I use the master fader ala carte only for fading, or lowering the overall level for the mastering guy. Holy $hit that sounds confusing.

[A Fak]

Yes,

From very begining of mix:

Slot 1: ColorTone Pro (Neve, SSL).
Slot 2: RenComp.

4/5ths into mix I activate the following plugs:

Slot 3: PhaseTone (for EQ).
Slot 4: PSP MixSaturator for tape saturation. Will change to TapeTone when it becomes available.
Slot 5: DUY Wide.

Beya

Thats Just like my setup (All except the PSP MixSaturator, and you eq before it).

Just a hunch but, did you also watch the the MILAR DVD?

[beyarecords]

Originally Posted by A Fak

Just a hunch but, did you also watch the the MILAR DVD?

I most certainly did, and i'm just about to watch it again!!! ;-)

What do you use in place of MixSaturator and what IR are you using in ColorTone Pro (slot 1) across your 2buss or does your choice of IR change from track to track??


Beya

[beyarecords]

Hey Fak,

Originally Posted by A Fak

1. Colortone Pro (w/ the SSL 4080G preset). This is on from the beginning of the mixing, but I tweak as I go.

Then when I'm about 4/5's done I turn on:

2. Rcomp (I usually compress about 2-4 dB's).

3. DUY Valve (I want tape but I have to wait for its AU release or Tapetone).

4. URS S or Mix. (To add some high freq's the valve/tape took off)

5. DUY wide.

Ok... I see where you're coming from ;-)

I use the SSL preset as well in blend mode with channels linked and set the input to -6db. Color I then set to +1 and warmth to +5.. very nice!!

Also I see that you don't use RenComp from the begining of the mix, any particular reason why you do this?

Beya