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What's on your 2buss in 2011?
Old 11th September 2011
  #151
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Quote:
Originally Posted by Jim Williams View Post
Sure, on individual tracks. Nothing on stereo buss except the Kimber wire to the converter. When a mix is right, you don't need that stuff.

I save any stereo buss limiting/compression for mastering, just like 1970. No global HP filters either, I like my 1 hz to 30 mhz analog console bandwidth, that low end is tight and deep. Again, that is used on individual tracks, just like 1970.

Buss compression, HP filters, parallel compression, etc, are all newer techniques used for modern rock productions. Homey don't play that game. I prefer traditional recording techniques, like those used on your favorite classic rock albums. No one is complaining about the sound of those, while everyone has a new hole ripped in their ear drums from the modern stuff.
I completely agree, and would like to go in more of that direction myself when I have the skill to do so. I may be too young to know this first hand, but I can't help but feel the art of engineering is being lost as it transitions from capturing and emphasizing a performance/arrangement to compensating for one. I doubt it will die, but I sure hope the phase of every popular record sounding like it was mixed with a genre-encompossing template fades away soon, but that seems to be what most aspiring engineers aspire to achieve.
Old 11th September 2011
  #152
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Callison's Avatar
last mix i did i had a bit going on.. Pheonix Dark Essence > Vcc Trident > Waves SSL G-Buss > Waves Pultec > Waves MPX

that's as much as i have ever had on my 2 buss.. Each plug was barley doing anything.. not as many plugs in my actual session... i mixed through these plugs also..
Old 11th September 2011
  #153
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Usually my 2buss has a HPF set super low, like 20Hz, single pole - inaudible, but does some kind of magic voodoo - followed by The Glue, which I prefer over the other SLL busscomp emulations, usually just a couple dB compression at most. Once in a while I will follow that with Ferric, but it's usually complete overkill so only when the song really calls for it. I generally get enough mojo in my mixes without needing to add any kind of emulation to the 2buss.

I've stopped doign my 2buss OTB because of revision/recall issues. It's no biggie getting a compressor on a guitar close doing a revision. But with the 2buss if you aren't FREAKIN EXACT the whole damn record sounds different. And even if you are exact, different weather or humidity or a full moon and it sounds different. On a single track it's close enough, but on the 2buss that happens and you send the new revision to the client and it doesn't get approved. Ugh.
Old 11th September 2011
  #154
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YOHAMI's Avatar
 

Dangerous 2Bus > Shadow Hills Mastering Compressor > A Designs Hammer > Burl B2
Old 11th September 2011
  #155
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SonOfSteven's Avatar
 

Shadow Hills Vandergrap - A designs Hammer

Have em on there from the get go
Old 12th September 2011
  #156
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Quote:
Originally Posted by SonOfSteven View Post
Shadow Hills Vandergrap - A designs Hammer

Have em on there from the get go
How the VG does the 2bus?
Did you pick that one over other comps you have?
Old 13th September 2011
  #157
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SonOfSteven's Avatar
 

I used to use a Fairman TMC ages ago, and its a great comp but i prefer VCA compressors for mix buss and i liked the SSL but couldnt compress too much without losing low end, was also u sing api2500 for awhile but sold that even though i really liked it, I just have a sickness where I have to buy and try as many compressors as i can. The Vandergraph has the grab I like and manages to keep the low end, great compressor, Im gonna stick with this one
Old 13th September 2011
  #158
Gear Addict
 

For most mixes I use The Glue (tweaking the Glue 2 preset) on the Master bus and then I'll use an LA-2 emulation like MOTU's Masterworks Limiter. I have tried for almost a year to find the "sweet spot" of The Glue where I can actually get all my peaks caught and get the rich, defined bottom end a good SSL emulation adds. Sadly I had to many mixes that would have 1 or 2 spieks that would sneak by. For that reason I use a Limiter plug afterwards just slightly, so it can grab whatever The Glue may miss. If I bypass the Masterworks compressor I want it to sound exactly the same!

At times I'll run an aggressive mix through my Overstayer compressor but normally that little gem only works on drum bus and guitars...
Old 7th October 2011
  #159
Gear Guru
 
monkeyxx's Avatar
I think the next few mixes I do are going to feature a pair of preamps on the mix buss, fed by a Radial JDI Duplex. In initial experiments, my CAPI VP312 were doing really nice things in this position, adding a bit of grit and aggression to things. The nice thing about the Radial is it protects your converter's outputs from any accidental phantom power, and also knocks off 20 dB from the line signal (I took another 20 dB off with the preamp's pad) plus you get the Jensen transformers in line for color.

I guess the idea will be to audition preamps right at the beginning of the mix process to see if any pairs seem to help the sonics, then leave them engaged, and mix the rest from there with them on the whole time. My cinemag equipped API clone was nice too, having a different character than the VP312, a little sharper sounding
Old 18th October 2011
  #160
Quote:
Originally Posted by Joe Porto View Post
Nothing on the 2-bus these days. Instead, I have 8 Tonelux TXC comps on 4 stereo busses. Usually Drum & Bass, Guitars, Vocals, Keys & Special FX. These are run in parallel with the tracks that feed them.
this is kinda my setup with a 2500 and a Fatso.
getting 2 mohog '76's next week to add to this.

cheers, jeremy
Old 18th October 2011
  #161
Quote:
Originally Posted by unitymusic View Post
I completely agree, and would like to go in more of that direction myself when I have the skill to do so. I may be too young to know this first hand, but I can't help but feel the art of engineering is being lost as it transitions from capturing and emphasizing a performance/arrangement to compensating for one. I doubt it will die, but I sure hope the phase of every popular record sounding like it was mixed with a genre-encompossing template fades away soon, but that seems to be what most aspiring engineers aspire to achieve.
Fashion is a powerful component, but musicians need to remember it's about your music, not someone else's and their techniques in presenting it.

I just mixed a Labor Day private party gig that a bunch of my old high school buds come out to the desert for every year to celebrate the fact we arn't dead yet.

Yes, I used my Aphex 651's on vocals, bass, kick. The 612 gate cleaned up leakage on the vocal mics. I didn't use any compression on snare because of the sounds and styles. It's one of the fattest digital snare tracks I've got outdoors. I used a modified $39 MCA SP-1 on snare and it was perfect. Yes, some hits are less, some are more, but the extra levels of a hard hit add excitment and vigor to the tracks. It's a very fat 1970's tone with good top end crack, a little 5 k boost and done. The kick was an RE-20 miced on the front head, yes front head. It sounds just like Mitch Mitchell or Ginger Baker live, a full and not heavily damped kick sound. I used no EQ on kick, it was perfect. My AKG 460's were used on overheads and hat. Those were also flat except for some HPF.

Add a bit of Lexicon Reflex to the snare/toms and it's done. The Bricasti M7 added a bit of "simulated" room for the slower tunes.

I liked the results so much I'm thinking of doing the next drum session outside.
Most rooms have problems somwhere that are avoided outside.
Old 18th October 2011
  #162
Gear Nut
 

It has been a focusrite red3 and hammer for the last 2 years.

Now I prefer nothing on the 2 bus, and the mastering engineer is much happier
Old 18th October 2011
  #163
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erikdrink's Avatar
Tube-Tech
Old 18th October 2011
  #164
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AllAboutTone's Avatar
 

Rolls
2044
Mainly the Rolls.
Old 18th October 2011
  #165
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after brief experimentation with the Vari-Mu i am back to the TK BC1 for most bus compression duties, and using the V-Mu for individual tracks. (love it for vocals, horns, etc. it's doing what i always wanted an La2a to do).

so.

TK BC1 when bus compression is needed. been hitting it harder lately....3-5db of reduction on loud rock or pop music.

API 5500 sometimes. sometimes without any EQ...just for the bit o' thick.

Cranesong Phoenix very rarely.
Old 18th October 2011
  #166
From PT to console, console mix out to
  1. Hammer EQ
  2. Nail Comp (not always used)
  3. BAX EQ (almost always used)
  4. OCL-2
back into PT.
Old 19th October 2011
  #167
Gear Head
 

On the master buss? When mixing? ...Nothing.
Old 19th October 2011
  #168
I have Voxengo Span and Sonalksis FreeG Stereo so I can keep an eye on things or just observe levels/ frequency details...what's the idea of mixing with a compressor there? I've read a lot of people advocating 'The Glue'...but didn't catch why.
Old 19th October 2011
  #169
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superburtm's Avatar
 

still the C1
Old 19th October 2011
  #170
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gussyg2007's Avatar
Nothing ... and my mixes are better for it TBH
Old 19th October 2011
  #171
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jpgerard's Avatar
Nothing except a good mastering studio, picked by the client!
Old 19th October 2011
  #172
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once a roadie's Avatar
What's on your 2buss in 2011?

Summing>nail>hammer>foote p3500s




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Old 21st October 2011
  #173
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loosejaw's Avatar
 

gr2nv smart c2 1968me eq2nv
Old 21st October 2011
  #174
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Slikjmuzik's Avatar
 

Quote:
Originally Posted by Slikjmuzik View Post
Using an RJR SSL Buss clone with output transformers, but I play around with putting Daking and other pres before and after. I'd like to get a good stereo EQ if I can find something in the $800-$1200 range that would work with as many genres as possible and can be used for tracking as well. Anyone have any ideas on something sweet?
Recently picked up a Blackion Stereo EQ. Tested it with just mic and pre the other day. Excited to hear everything patched as follows: Daking pre>>RJR Buss Comp>>Blacklion, before tracking that chain back into the box to bounce out.
Old 22nd October 2011
  #175
Gear Maniac
 

pt9-> aurora da -> ssl gfx384 -> manley Massive passive -> vintech x73i pair -> aurora

im really digging this chain alot ... one thing im not getting the most out of an am not quite sure the best way to do so is this.....i just got the dangerous dbox and am monitoring with its analoge selection...it has the summing part of it that im not using and wonder what would be the best way to incorperate that into this chain above. you can do it a few ways so im just curious what would keep the highest quality output in the end as far as the dbox incorperation goes.

thanks!!
Old 23rd October 2011
  #176
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TheOxmyn's Avatar
Lynx Aurora 8 >> Dbox Summing Out >>
Dangerous Music Bax EQ >> Elysia Xpressor (19" rack) >>
print track back in Lynx Aurora 7/8 inputs to PT9.
Old 23rd October 2011
  #177
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paulreed's Avatar
 

the meters from waves PAZ analyzer so I can keep track of my levels.
Sometimes MCDSP's AC2 after the meter plug if the mix needs some analogue flavor.
Old 30th October 2011
  #178
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ROCKER STUDIOS's Avatar
Out of the Toft main L/R > OWA U33>PSIDEX PEQ's>Nail> Back in to Pro tools Stero track
Old 30th October 2011
  #179
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uncle muscles's Avatar
 

I forgot how crucial the AC1 is and was, and rightfully so slapped that mofo back on as soon as I could. It just doesn't glue without it for me.


EQ (like the 550b) to take off some low end if need be - reel tape or Kramer mpx into Phoenix iridescent gold, AC1 or decapitator or URS csp or URS saturation, into the glue/waves ssl/pie/vcomp/cla3/Cl1b etc.., into maxxbass, Into massenburg style or emi eq, into the FF D3, into a spatializer, into Phoenix iridescent; sapphire, into l2007/Oxford lim./or waves L series

Oh and when it comes to HEAT, I push it to the right as hard as it will go before distorting, and the tone knob all the way to the right, in the first stages of the mix. I've recently found that gives me the right high end I'm looking for without having to use any style eq on the bus. HEAT is totally relative to what stage of the mix you are in as it corresponds to levels and distortion.
Old 30th October 2011
  #180
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uncle muscles's Avatar
 

All of it depends on how much the mix sounds like a song before you reach the master fader.
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