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hey ITB mixers -- what's on your bus? Dynamics Plugins
Old 28th August 2007
  #31
Gear Nut
 
BradG's Avatar
 

Waves Linearphase Low Band
UA Fairchild 670
Waves L2 (or maybe the L3 Multimaximizer if I need some extra tweaking)

I almost always get the mix completely finished before applying any masterbus processing. If I need a little something extra, I'll stick the Waves Q-Clone before the 670 and use one of the included presets to boost some hi end. I'll often keep the LinLB on first though with just the hi-pass engaged to lose everything below 30 or 40Hz.

I definitely think it's a good idea to strap a good compressor across your master bus at the end of your mixing session, even if you're going to get it mastered, just for reference. You'd be surprised at how even just a little compression can change your mix. You need to think of it like checking the mix through another set of monitors, just gives you a little different perspective of how the mix might end up sounding on another setup.
Old 28th August 2007
  #32
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audiomichael's Avatar
 

Quote:
Originally Posted by Roc Mixwell View Post
As you all know, "bouncing" the track with a hardware insert, is a lot like, watching porn,
You mean...totally awesome!!!

Quote:
Originally Posted by Bo Jorgen View Post
RVox 6-8 db gain reduction.
L2 2 db gain reduction.
Still sounds wimpy compared to the commercial stuff. Ah, what to do?
Yowza!!! I think you should start by not using Ren Vox on your 2 bus. If you like the Waves Ren stuff, try the Ren Comp...it's not my favorite on the 2 bus, but it's more suited for the job than Ren Vox. Try only compressing 1-4 db then just top it off with L2. Everything else try tweaking in the mix. The other method you have 10db of gain reduction on the master bus...that's some dangerous territory. Sorry for jumping in, but you asked.

On my 2bus: If it's hardware it's a Manley Massive Passive into a Manley Vari-Mu (as an insert on the master bus) then into an L2...mixed...mastered...done!

If I'm sticking with software then usually it's a UAD Pultec eq > Waves SSL or Sony Dynamics > URS CSP (for some tape or transformer emulation) > PSP Vintage Warmer or Sony Inflator (just a touch if I screwed up and my mix needs more beef) > L2

Some other honorable mention is the Waves API 2500, Waves V-Series EQ, Sony Oxford EQ and L3 (if my mix is a little F*'d and I need some low end control)
Old 28th August 2007
  #33
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thermos's Avatar
Quote:
Originally Posted by Bo Jorgen View Post
RVox 6-8 db gain reduction.

L2 2 db gain reduction.

Still sounds wimpy compared to the commercial stuff. Ah, what to do?
Whoa! Lighten up there sparky. Thats pretty intense.

The URS strip pro is my favorite thus far, either a tape settung or comp setting (or just one of the input stages). Nice color choices. Usually sum through a dangerous 2 bus with a portico though (time permitting).
Old 28th August 2007
  #34
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preben's Avatar
 

Duende buscomp and sometimes a Sonnox dynamics plug (set as a limiter) at the very end if for instance a premix has to be loud(er)... don't they always?
Old 28th August 2007
  #35
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It's a theme thing for me. For the album I'm working on right now McDSP Channel G is there on every song, Analog Channel AC2 on almost every song as well (too noise on one or two).
Old 28th August 2007
  #36
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andsonic's Avatar
 

I really love AMtrack for glue. For those unfamiliar, it's a compressor/vintage compressor/tape emulator by Sascha Eversmier. Sometimes just the tape emulation does the trick. AMphibia is also good for this. Especially if you want some "Pultec-y" goodnessthumbsup
Old 28th August 2007
  #37
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kid deluxe's Avatar
 

Quote:
Originally Posted by andsonic View Post
I really love AMtrack for glue. For those unfamiliar, it's a compressor/vintage compressor/tape emulator by Sascha Eversmier. Sometimes just the tape emulation does the trick. AMphibia is also good for this. Especially if you want some "Pultec-y" goodnessthumbsup
+1
Old 28th August 2007
  #38
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t.dizzle's Avatar
 

Duende SSL Bus Comp on every mix. It sounds great and is the best L/R plugin I've heard.
Old 1st September 2007
  #39
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A440's Avatar
Quote:
Originally Posted by mattmorgan View Post
So you are referring to material that you are mastering yourself?? It's my experience that some pretty large elements of your mix would fall apart when you removed the bus comp...
If you are self mastering - are you just inserting to the same plug-in in your mastering chain?

i'd rather commit to the mix with the bus comp then worry about simulating that same compressor later in mastering.

but i also take barely touch my mix bus comp if i even have one on.

-m
If mastering myself, at a different session to the mix, I usually put the mix through a Neve Portico 5043, then maybe LinMB, altiverb, and L2. I do get your point about taking the Sonalksis buss comp off after the mix leading to variation, but it's something that I don't worry about too much as the Neve sounds so sweet and the results are fab. But your comments have certainly made me think that I should try other ways of working. My buss comp usually only ever takes off 1-2dB, so it's pretty light compression really.
Old 1st September 2007
  #40
Gear Maniac
 

itb buss stuff

GML8200,Cranesong STC-8,Cranesong HEDD,masterlink
Old 1st September 2007
  #41
Deleted bd1be4f
Guest
---if mixing for mastering---
Cranesong Phoenix
Waves SSL comp or Waves API 2500

----if making pseudo mastered refs---
Cranesong Phoenix
Waves SSL or API 2500
McDSP ML1
Sony Oxford Inflator
POWr Dither
Old 1st September 2007
  #42
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Long_Shaded_Eye's Avatar
 

Quote:
Originally Posted by theblue1 View Post
I'm a cheapskate. I don't have any expensive plug packs. But I do have the (64 bit internal) EQ and CompressorX from Sonic Timeworks that came with (I think) Sonar Producer 2. (In addition to a shipload of free plugs, some of them very usable.)

I've yet to find a compressor OR an EQ I like nearly as well for sound and control interface as these two plugs.

Well, actually, CompressorX actually has a straightforward conventional parameter control interface -- but with a full range of controls. But the EQ, OTOH, has two modes, one conventional but there's also a "graphic" mode which features a rubber band interface (where the center points of freq bands show as colored balls [you still change the Q numerically, though]) with the added bonus of an animated spectrum display mapped right below -- so it's super quick/intuitive looking for trouble spots.

And like I said, to my ear, they sound very good.
A bit off topic but ....
Yeah allready tried them and they sound GOOD. Especialy the Eq, wich is very good for adding frequency , very smooth and easy to use (very nice on bass , kick ...).

/Nick.
Old 1st September 2007
  #43
Gear Maniac
 
Long_Shaded_Eye's Avatar
 

Quote:
Originally Posted by andsonic View Post
I really love AMtrack for glue. For those unfamiliar, it's a compressor/vintage compressor/tape emulator by Sascha Eversmier. Sometimes just the tape emulation does the trick. AMphibia is also good for this. Especially if you want some "Pultec-y" goodnessthumbsup
Please I searched on google and I didn"t find any info on them , do they have a web site please ?
THANKS.
/Nick.
Old 1st September 2007
  #44
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thermos's Avatar
Quote:
Originally Posted by A440 View Post
If mastering myself, at a different session to the mix, I usually put the mix through a Neve Portico 5043, then maybe LinMB, altiverb, and L2. I do get your point about taking the Sonalksis buss comp off after the mix leading to variation, but it's something that I don't worry about too much as the Neve sounds so sweet and the results are fab. But your comments have certainly made me think that I should try other ways of working. My buss comp usually only ever takes off 1-2dB, so it's pretty light compression really.
I agree with bouncing 2 versions for the ME. I did that with a record where I used my 5043 sparingly, (like 1 db on every song max). I bounced the whole record for him both ways. It sounded soooooooo much better when we used the uncompressed tracks for mastering, I was kind of blown away (seeing how much I love the 5043). But different projects have different outcomes of course.
Old 1st September 2007
  #45
Lives for gear
 

I use the hardware insert feature of Nuendo and my chain usually looks something like

UAD 33609
Waves API 2500
Waves SSL Comp
H/W - which consists of Crane Song Hedd 192, DBX 160SL, Pair of API Pres, Pair of Neve EQ's
Then back to software for
UAD Presicion Multiband
UAD Precision Limiter


I know that is a lot but they are compressing VERY little. I find I like this approach better than using one comp. I'll take out .5-1db 3 or 4 times using different comps rather than using one comp to take out 3-4db.
Old 1st September 2007
  #46
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Oldone's Avatar
Recently I started putting the UAD 88RS Neve plugin on the 2 buss while tracking. It provides an immediate console vibe and keeps me away from starting to play with EQ and compression too early.

In the mix the 88RS stays there up to the end and I print 3 versions for mastering. One with the 88RS ITB, One with a Portico 5012 + 5033(pair) + 5043 combination (Feedforward mode for jazz, acoustic sounds, Feedback for the everything else) all OTB. The final version has nothing on it.
Old 1st September 2007
  #47
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swisha31's Avatar
Quote:
Originally Posted by Long_Shaded_Eye View Post
Please I searched on google and I didn"t find any info on them , do they have a web site please ?
THANKS.
/Nick.
Amtrack is the plugin that is associated with samplitude software. It's a pretty nice plug. its a comp and tape saturator and you can go vintage or modern type of compression. i've used it wonce or twice.


I use the waves SSL on my 2bus. does a pretty good job for me. i might add PSP vintage warmer on the 2bus also to add warmth and color on a track but it may be very light use. I just started sending stuff out for mastering cause i'm gonna let the big boys handle it but before i would toss Waves SSL>ozone>PSP Vintage warmer
Old 1st September 2007
  #48
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Quote:
Originally Posted by Bo Jorgen View Post
RVox 6-8 db gain reduction.

Still sounds wimpy compared to the commercial stuff. Ah, what to do?
I'd start by removing the Rvox.
6-8 db on the 2bus with a plugin that doesn't offer att/rel control...ouch. I think I've found your "wimp" factor. At least partly.

-Z-
Old 1st September 2007
  #49
Vintage Warmer2 or DUY Tape
Color Tone
Liquid Mix Neve 33609 or Sonalksis w/ SSL settings

L2 for Reference Mixdowns only

The settings depend on the Material. Usually no more than 2-3 dB of GR on the comp.
Old 6th September 2007
  #50
Gear Head
 
Mark Norup's Avatar
 

before i start a mix, ill add these 2 plugs.. and mix through them.
AC 1 dual mono, with console 2 preset..
Waves SSL Bus comp..

just before the mix is done.. ill add these plugs..

Waves S1
Massey TapeHead..

and leaving -3 db headroom for the mastering engineer..

Best..
Mark :-)
Old 6th September 2007
  #51
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Fidelis's Avatar
 

Mixing for mastering:

URS CSP - start with "analog glue" preset and tweek it from there (sometimes to a completely diferent setting...)

Cranesong Phoenix

If I need more compression I can add TL Aggro, sonalkisis compressor or Impact before URS CSP.

That's it.
Old 6th September 2007
  #52
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Tommy-boy's Avatar
 

UAD Precision Limiter
Old 6th September 2007
  #53
C2 on insert - but i don't consider that to be ITB at all.

so when i must go ITB i make a chain of plugs in the Metric Halo +DSP.

or Vintage Warmer
Old 6th September 2007
  #54
Gear Maniac
 
HockeyMike's Avatar
 

Quote:
Originally Posted by MarkRB View Post
I know I'm gonna get crucified for this but when I'm at home working on - budget recordings i still love the T-Racks compressor or maybe the limiter if it's not going to mastering.

+1 for the Sonalksis stuff for home mastering
I've used the T-Racks before on the 2 bus, for some things it's fine if used lightly.

I'll usually audition either the UAD Fairchild or the URS 1975 and see which fits better....the Fairchild is smoother, the 1975 punchier (their 1980 SSL clone is even punchier when I demoed it, just haven't bought it yet).

Whichever I use, I hit it very lightly and save limiting for mastering, even if I'm doing it myself with the UAD stuff. You're painting yourself into a corner if you put all your mastering plugs on your mix bus.
Old 6th September 2007
  #55
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RKrizman's Avatar
 

Out to Nicerizer 16, through Cranesong STC-8, back into Protools with Massey Limiter, L1 for makeup gain.

-R
Old 6th September 2007
  #56
Gear Addict
 

Massey ct4
Massey L2007
Old 6th September 2007
  #57
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Bounce's Avatar
Bombfactory Cosmonaut Voice into Digi Short delay on 7 ms left and 9 ms right then into Dverb on a medium Hall.
Old 6th September 2007
  #58
Gear Addict
 
Chris G's Avatar
 

Quote:
Originally Posted by Bounce View Post
Bombfactory Cosmonaut Voice into Digi Short delay on 7 ms left and 9 ms right then into Dverb on a medium Hall.
i bet your deaf clients love that!!!
Old 7th September 2007
  #59
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Bounce's Avatar
Quote:
Originally Posted by Chris G View Post
i bet your deaf clients love that!!!
Of course if they don't understand the "magic" of this, I just insert Amplitube 1 on a fender twin setting with no cab at the end of this chain and it's all smiles from there.
Old 7th September 2007
  #60
Gear Nut
 
demaarten's Avatar
 

in this order:

-Drawmer 1968 Mercenary edition as external insert
-UAD Pulteq EQ PRO
-Sony oxford limiter (demoing this for 2 weeks, man this is one to HAVE)

I am also demoing the Waves API 2500 and I found a setting to be very simular to my analogue drawmer 1968, but I will not buy them because my drawmer WILL STAY
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