More times than not I’ll avoid adding this effect to my mixbus, but some engineers enjoy adding this in. I like to emulate a studio when doing this since it adds cohesion in a way that makes sense. In short, yes, you can add reverb to your mixbus however, the effect should be incredibly subtle, about 1 to 2 percent mixed in - otherwise your mix will sound washed out. Listen to an Example ➜ YouTube Link Can I Add Reverb to the Mixbus? I like Arturia’s emulation of the v76 for this, but if you’ve found one you enjoy let me know about it in the comments section. They’ll mildly distort and shape the frequency of your mix. If you want your mix to have a vintage sound, try a preamp emulation - although these are marketed as going on individual channels, the hardware they emulate was often used for mastering back in the 60s and 70s. Listen to an Example ➜ YouTube Link Preamp on the Mixbus In my opinion, delay-based stereo imagers should never be used on a mix bus. That said, don’t conflate or confuse this effect with delay-based stereo imaging, which delays one of your channels to cause expansion. Listen to an Example ➜ YouTube Link Is Crosstalk a Good Idea?Ĭrosstalk occurs when your left and right channels bleed into one another, causing some of the right channels info to be on the left and vice versa - this results in a somewhat blended sound, but can also widen the stereo image.
Also, if available I’d recommend using at least 2x oversampling. Tube and transformer emulation often results in a warmer sound due to second-order harmonics, whereas tape affects the mid and high mids a bit more. The harmonics will make the mix sound louder, and fuller, and can vary depending on what emulation you choose. With a saturator we can subtly compress our mix and add harmonics - the compression will typically be soft-knee and a little slower, so it’ll glue the sound together a bit.
#MIX BUS PROCESSING CHAIN HOW TO#
Listen to an Example ➜ YouTube Link How to Saturate a Mixbus Also, if it’s available use a bus or mastering algorithm, a little bit of lookahead, and some oversampling.Īll of which will reduce distortion in different ways. If you want more of a cohesive sound, or what’s often called mix glue - use a longer release time of 150 to 250ms. If you just want to control your peaks, set an attack of 10ms and release of 50ms to retain detail. Like equalization, compression can do a lot of damage if used excessively on a mix bus, so be sure to attenuate your signal no more than 1 to 2dB. Listen to an Example ➜ YouTube Link Compressing a Mixbus I personally enjoy a 6dB per octave slope for this cut and will lower the center frequency, so that the cut just slightly affects the low mids. Personally, I enjoy the sound of boosting the high frequencies with a shelf by about 1 to 2dB.Īnother idea is to use a mid-side EQ, and use a highness filter on the lows, to make the low frequencies more mono. If we EQ our mix bus, we have the power to drastically alter the sound of our mix - with that in mind, amplify or attenuate no more than 3dB.
#MIX BUS PROCESSING CHAIN FREE#
Get a FREE Mastered Sample of Your Song ➜īefore we start covering processing your mix bus, I want to make it clear that the chapters I’m covering in this video are in no particular order, they aren’t part of a chain, but just valuable info to help you make more informed decisions when mixing. Equalization, saturation, compression, and other typical effects are useful however, delay-based stereo imaging should be avoided more often than not. Regardless of the processing that you add to your mixbus, always ensure that the effects are subtle - otherwise, you may ruin a perfectly good mix.
0 kommentar(er)
