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What Is Your #1 Plug In for The 2 Buss?
Old 18th September 2011
  #61
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UnderTow's Avatar
Quote:
Originally Posted by Xill View Post
I always use Ohmicide at maximum distortion on all frequency bands along with a bad free compressor pushed to maximum, 3-4 reverb plugins to double the song length and finally 3 ping-pong delays at the quarter, eight and 16th note to make sure mistakes aren't discernable.

Then I normalize at -14db and finally start EQing by reducing the dynamics on all frequency ranges, put the mixed cd in a vinegar bowl and put a cherry in the middle.
It just wouldn't sound the same without the cherry...

Alistair
Old 18th September 2011
  #62
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E.rOk.stA's Avatar
 

Well, 1st insert has Duende Bus Comp, 2nd has Softubes' PE1Q or Trident A Range, 3rd has Waves' MPX, 4th is either McDSP ML 4000 or Ozone, 5th is dither.
Old 18th September 2011
  #63
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Some common 2-buss plugs for me...

Satson
Waves LinMB
SPL Vitalizer
Old 18th September 2011
  #64
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none at all...
Old 19th September 2011
  #65
Deleted User #106149
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Quote:
Originally Posted by taturana View Post
none at all...
What genre Do you mix out of interest?



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Old 19th September 2011
  #66
Quote:
Originally Posted by u b k View Post
You mean "when it's mastered really badly."




Gregory Scott - ubk
I had to double check where that quote came from! but yeah...WHEN...!

Quote:
Originally Posted by u b k View Post
Isn't that what everybody does? Mix, then have it mastered?

If I'm mixing an EP or an album that I also have to master, I don't even think of mastering anything until all songs are mixed. Otherwise, everything would end up all over the map level-wise and curve-wise.

You can master-as-you-go?


Gregory Scott - ubk
No no, you misunderstand..I mean, I don't want the mastering guy to change the overall sound of the mix. In an ideal world, the mastering guy would apply some gentle limiting, sequence and PQ encode. In the real world, there'll be a bit of overall EQ and compression/level matching to do to make each track sit in context. But if I want a track that pumps because of the mix buss compression (eg Alan Moulder-style rock) then I need to employ mixbuss compression and mix into it, and not "leave it till mastering".

I probably didn't explain myself very well, but then I don't think someone who leaves all mixbuss processing to a mastering engineer (or even worse, mixes into a compressor then removes it before mastering!) gets this concept either.
Old 19th September 2011
  #67
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McDSP AC1
Pro-L
T-Racks Metering
IXL Spectrum Analyzer
Sometimes Waves C1-sc for bass limiting
Old 19th September 2011
  #68
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miro's Avatar
 

Good question/thread, because that has changed so many times for me.
At the moment it's:

- Satson Buss (modern crosstalk, FAT off)
- (sometimes) Live's Multiband with just low band active for a gentle bass control (if needed) since I'm doing techno with bass heavy things happening.
- Stillwell Bombardier buss comp (although replacing it quiet often with my own pseudo SSL presets done in Live's compressor - which sound pretty darn good!)
- PSP NobleQex
- SK Note Roundtone for a little warmth and punch (I was using Toneboosters Ferox a lot, now replaced by Roundtone)

- Live's limiter (for quick ref. how things could sound later, when mastered)
- TTDynamic Range Meter (checking RMS, when Limiter is on + the mono switch, which I have setup to my mac keyboard - for mono check with just one button)
Old 19th September 2011
  #69
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steffensen's Avatar
 

Quote:
Originally Posted by miro View Post
Good question/thread, because that has changed so many times for me.
At the moment it's:

- Satson Buss (modern crosstalk, FAT off)
- (sometimes) Live's Multiband with just low band active for a gentle bass control (if needed) since I'm doing techno with bass heavy things happening.
- Stillwell Bombardier buss comp (although replacing it quiet often with my own pseudo SSL presets done in Live's compressor - which sound pretty darn good!)
- PSP NobleQex
- SK Note Roundtone for a little warmth and punch (I was using Toneboosters Ferox a lot, now replaced by Roundtone)

- Live's limiter (for quick ref. how things could sound later, when mastered)
- TTDynamic Range Meter (checking RMS, when Limiter is on + the mono switch, which I have setup to my mac keyboard - for mono check with just one button)

Nice chain there, thanks for sharing.
Old 19th September 2011
  #70
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Easily COMPassion. I've spent a good amount of time in the advanced pages and it has paid off handsomely!
Old 2nd October 2011
  #71
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UAD Ampex
Old 2nd October 2011
  #72
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scott petito's Avatar
 

Quote:
Originally Posted by joeq View Post
I was just going to say, my #1 Plug for the 2 Buss is: "Inserts 7-8"!
and believe it or not inserts 7-8 is where they live!!!

SP
Old 2nd October 2011
  #73
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1. Alex B SSL Classic Console for Nebula
2. Duende SSL Bus Comp (will probably switch to Alex B version soon)
3. Fab Filter Pro L (if doing my own pseudo/temp mastering)
Old 2nd October 2011
  #74
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janjaal's Avatar
elysia alpha master compressor (i get maximum 2 db of reduction)
slate digital mixbus (ssl)
uad ampex atr 102 (i just turn of the noise and start mixing)
IXL multi analyzer
Old 2nd October 2011
  #75
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mixing (my psuedo console)
- waves ssl bus comp + stillwell 1973 eq + tsclip

mastering (i dont really consider my mastering "real mastering" but when you have to upload a track to soundcloud, I use the following)
- fabfilter pro-c + fabfilter pro-q + fabfilter pro-l
Old 2nd October 2011
  #76
It depends on what Im looking for sometimes PSP Vintage Warmer 2 for mojo or glue but most of the time just massey L2007 clean and simple

But I have been experimenting and had great result with three plug ins all at the same time and they are all cheep or free..

in this order

stillwell Vibe eq. If I want to eq but has it to be used carefully (this is the 2 bus)

Sonalksis FreeG this does 2/3 of raising the level
and finally massey L2007 1/3 the rest of the scale

I also tried the Vintage warmer 2 before FreeG and L2007. Then each plugin was only doing 1/3 of needed gain.

This is what I do for mix that I have to get ready for television or the Internet. Albums that will be mastered. I try not to raise the level or limit in the mixing process. Only use something for glue or mojo if needed. (although I use L2007 for ruffs)
Old 3rd October 2011
  #77
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dxavier's Avatar
UAD Manley Massive Passive EQ, UAD Emperical Labs Fatso and UAD Precision Limiter

Melda Production MSpectralDynamics and MStereoProcessor

Variety of Sound Ferric TDS (Tape Dynamic Simulator)
Old 3rd October 2011
  #78
Gear Maniac
 
johnnygri's Avatar
Airwindows BussColors 2
(Logic) I/O
Old 3rd October 2011
  #79
Quote:
Originally Posted by Xill View Post
I always use Ohmicide at maximum distortion on all frequency bands along with a bad free compressor pushed to maximum, 3-4 reverb plugins to double the song length and finally 3 ping-pong delays at the quarter, eight and 16th note to make sure mistakes aren't discernable.

Then I normalize at -14db and finally start EQing by reducing the dynamics on all frequency ranges, put the mixed cd in a vinegar bowl and put a cherry in the middle.
That's exactly what I do...what a coincidence

Old 4th October 2011
  #80
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Ain't Nobody's Avatar
 

Quote:
Originally Posted by miro View Post
Good question/thread, because that has changed so many times for me.
At the moment it's:

- Satson Buss (modern crosstalk, FAT off)
- (sometimes) Live's Multiband with just low band active for a gentle bass control (if needed) since I'm doing techno with bass heavy things happening.
- Stillwell Bombardier buss comp (although replacing it quiet often with my own pseudo SSL presets done in Live's compressor - which sound pretty darn good!)
- PSP NobleQex
- SK Note Roundtone for a little warmth and punch (I was using Toneboosters Ferox a lot, now replaced by Roundtone)

- Live's limiter (for quick ref. how things could sound later, when mastered)
- TTDynamic Range Meter (checking RMS, when Limiter is on + the mono switch, which I have setup to my mac keyboard - for mono check with just one button)
I barely ever hear bombardier mentioned. It's not quite my first choice for anything, but it's in the running for most uses, and definitely the one I'd keep if I could only have one plugin comp for all purposes... amazingly flexible and sounds better than most on just about everything.
Old 4th October 2011
  #81
Quote:
Originally Posted by thedomus View Post
I'm gonna have to give props to Fabfilter's Pro L, superb!
+1



When East Meets West - Gearslutz.com
Old 4th October 2011
  #82
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A few different ones:

Always the Slate VCC Bus.

Usually The Glue using automatic release.

Often the Waves KMT/MPX.

Sometimes the Abbey Road RS124 compressor.

Sometimes the Waves PuigTec EQP-1A.

Sometimes the Abbey Road TG12412.

If I don't use the KMT/MPX or the RS124 in the mix stage, I'll many times use them in the mastering stage.
Old 11th October 2011
  #83
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Quote:
Originally Posted by George Necola View Post
Sonalksis 315 (ahhh. Those numbers.. The green stereo comp)

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Still?!
Old 11th October 2011
  #84
restpause
Guest
I've certainly used TLs Maximizer quite a lot.
And lately I use Double Precision Equaliser.

Nothing fancy or expensive, but they get the job done.
Old 11th October 2011
  #85
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T_R_S's Avatar
Slate FGX

Quote:
Originally Posted by scott petito View Post
A ubk fatso, a ubk Clariphonic EQ, an api5500 EQ,

I plug them in with 4 little wires

Cheers
SP
I guess you got confused by this with thread being in the computer forum heh
Old 11th October 2011
  #86
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Satson or Analogue (SIC) Channel
Old 11th October 2011
  #87
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EastWest Lurker's Avatar
 

Lately, UAD Ampex ATR-102.
Old 11th October 2011
  #88
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There are so many options. Depends on the song really......the plugins that get regular use is The Glue, API 2500, Waves MPX or the Oxford Inflator.
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