I know this sounds like a dumb question but do you guys ever use plug-ins on the master before mastering to add even more volume, EQ), etc.. Or is this a bad thing to do?
Is it bad to have anything on the master before bouncing for mastering?
- Thread starter Cacoph0ny
- Start date
amarshism
Member
BLUElightCory
Member
If you have the plug-ins on your master bus WHILE you're mixing, leave them on there. Otherwise, it's best to give the mastering engineer a mix without processing.
crillemannen
Member
ouch.. here we go again 
I do use compression on my master buss, most people do. Just dont over compress things, and definitely don't try to save things while putting a shit load of stuff on to you the master.
Just a few db's of GR on the master buss. perhaps with Waves SSl for glue and your fine, and maybe a small touch of EQ
I do use compression on my master buss, most people do. Just dont over compress things, and definitely don't try to save things while putting a shit load of stuff on to you the master.
Just a few db's of GR on the master buss. perhaps with Waves SSl for glue and your fine, and maybe a small touch of EQ
Morgan C
MAX LOUD PRESETS¯\(°_o)/¯
Unless you know what you're doing, leave it blank. There are some pros (Randy Staub, Bendeth) who use ridiculous amounts of compression (like 8db+) on the masterbus before mastering, but unless you know what you're doing you could easily fuck it up by trying to do the mastering engineer's job.
I use compression on the master bus all the time, just to glue everything together and to tame the peaks, but I always have it on at the beginning of the session. The meter is barely moving only in the heavest parts of the mix - max of like 3db of compression.
FloridaRolf
W.A.T.
Only a limiter without boost to avoid +0,... peaks / clipping
I don't use a comp on the master bus and not even always for mastering, maybe I should give it a try again.
I don't use a comp on the master bus and not even always for mastering, maybe I should give it a try again.
Ermz
¯\(°_o)/¯
I do master bus compression all the time before it gets to mastering. Sometimes I even do my own limiting or clipping if I don't trust the ME that it's going to. Otherwise it's usually just the master bus comp and that's it. The MBC is part of the sound of the mix, so it makes no sense to turn it off.
Skinny Viking
¯\(°_o)/¯ How do Lydian?
I mix through my McDSP AC1 plug .... I raise the input until I'm getting at the most 2 - 2 1/2 db gain reduction during the loudest parts
I don't even try to do any kind of pseudo-mastering. I know nothing about it and will gladly spend the money to have a professional properly master my stuff. I also give the same advice to anyone asking me to work on their music
mastering as I see it is an art form all its own. I haven't gotten there yet, not by a longshot
I don't even try to do any kind of pseudo-mastering. I know nothing about it and will gladly spend the money to have a professional properly master my stuff. I also give the same advice to anyone asking me to work on their music
mastering as I see it is an art form all its own. I haven't gotten there yet, not by a longshot
i always have a maximizer and a decent compressor in the master out.
for some reason some elements of my mixes turn out much louder when the mix is getting mastered.
the maximizer helps me to get a mix that's more balanced. all in all it's not the best solution IMHO.
i guess i just can't mix.
cheers
S.
for some reason some elements of my mixes turn out much louder when the mix is getting mastered.
the maximizer helps me to get a mix that's more balanced. all in all it's not the best solution IMHO.
i guess i just can't mix.
cheers
S.
Jaymz
Stymphalian Productions
MetalJonesy
more metal, more booze!!!
always run though a master buss compressor from the very start of a mix, 2:1 ratio usually with no more than 2-3dBs of GR, medium attack and medium release
i get these types of well-intentioned but ill-advised mixes in all the time for mastering... i almost always reject them... and then the mix engineer has to do more work, perhaps even interrupting his next session, because he has to make me new mixes without limiting. in fact my instructions that i give to each band that hires me state clearly that some standard, not heavy-handed, 2-Buss compression is ok, but nothing else should be done, and in fact if a mixer feels something is needed, it should be addressed in the mix itself.
truth be told, i'd have no way of knowing if even somewhat heavy-handed eq was used on the 2-buss by the mixer... but limiting, clipping, heavy compression, and psycho-acoustic processes (stereo image enhancers, bass extenders, exciters, etc) are very evident usually, and result in mixers having to do more work when i send it right back to them and say "no thanks".
the end.
waltz mastering
Member
If your not sure, you can always print a version with and without 2 buss processing and see which version the ME thinks might be better work with.
The best thing would be to avoid any brick wall limiting and avoid hitting 0 dB fs if your going to send the mixes out to get mastered.
Anything else is really fair game and IMO, 2 buss processing is up to the choice and intent of the mix engineer.
Ermz
¯\(°_o)/¯
i get these types of well-intentioned but ill-advised mixes in all the time for mastering... i almost always reject them... and then the mix engineer has to do more work, perhaps even interrupting his next session, because he has to make me new mixes without limiting. in fact my instructions that i give to each band that hires me state clearly that some standard, not heavy-handed, 2-Buss compression is ok, but nothing else should be done, and in fact if a mixer feels something is needed, it should be addressed in the mix itself.
truth be told, i'd have no way of knowing if even somewhat heavy-handed eq was used on the 2-buss by the mixer... but limiting, clipping, heavy compression, and psycho-acoustic processes (stereo image enhancers, bass extenders, exciters, etc) are very evident usually, and result in mixers having to do more work when i send it right back to them and say "no thanks".
the end.
My ME is happy with my approach, consequently I am happy with my approach.
Loren Littlejohn
Lover of all boobage.
Yeah I never EVER do. The shit the M.E. puts on the 2 buss is better than any plug in/piece of hardware I have.
i should further qualify my statements by pointing out that i don't send back mixes simply because the mixer has done anything at all on the 2-buss... i send them back when i don't like what they've done. sadly, it happens often enough that i don't like something, particularly limiting, and have to request a new mix without it... as Waltz said, the best thing to do is send both versions of the mix... with and without.
Mikaël-ange
Member
- Nov 7, 2008
- 2,368
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Well said James
I mostly avoid mixing with any procesing on my 2bus during first mixing step. Only limiting with out celling at -0,2db, treshold at -1,5 and realease at 100ms in case something bad append with 2bus. I only had 2buss comp during mixing end when all elements already work together. Just way a try to work.
Of course I leave limiter before send mix but I also send mix with and without 2buss comp.
Remember this, doc text work great for share ideas with ME.
Just my 2cents euro
Hi,
It depends on how you mix.
If you start a mix without anything all the way till the near end just leave it empty.
Now if you start a mix with a compressor try and use a good one (I am very happy with The Glue by Andrew Simpler an SSL simulation)with a very low ratio 2:1 medium or auto attack and medium release, depends on the tempo, (neat trick is check if the vu´s are moving back to the same speed as the tempo by raising the threshold and then adjusting the release) and check it while you are mixing so that you dont go over 4db GR on the loader parts and adjust the threshold.
I always mix with a compressor, the mix seams to come together faster and set your kick peaking at -10 and snare -3 with the comp and mix around that, its a great starting point!
Hotstuff
It depends on how you mix.
If you start a mix without anything all the way till the near end just leave it empty.
Now if you start a mix with a compressor try and use a good one (I am very happy with The Glue by Andrew Simpler an SSL simulation)with a very low ratio 2:1 medium or auto attack and medium release, depends on the tempo, (neat trick is check if the vu´s are moving back to the same speed as the tempo by raising the threshold and then adjusting the release) and check it while you are mixing so that you dont go over 4db GR on the loader parts and adjust the threshold.
I always mix with a compressor, the mix seams to come together faster and set your kick peaking at -10 and snare -3 with the comp and mix around that, its a great starting point!
Hotstuff
drew_drummer
Dancefap
i get these types of well-intentioned but ill-advised mixes in all the time for mastering... i almost always reject them... and then the mix engineer has to do more work, perhaps even interrupting his next session, because he has to make me new mixes without limiting. in fact my instructions that i give to each band that hires me state clearly that some standard, not heavy-handed, 2-Buss compression is ok, but nothing else should be done, and in fact if a mixer feels something is needed, it should be addressed in the mix itself.
truth be told, i'd have no way of knowing if even somewhat heavy-handed eq was used on the 2-buss by the mixer... but limiting, clipping, heavy compression, and psycho-acoustic processes (stereo image enhancers, bass extenders, exciters, etc) are very evident usually, and result in mixers having to do more work when i send it right back to them and say "no thanks".
the end.
+1
James... I'm no mastering engineer, but I'm of the opinion that it's best to send them straight 'clean' exports from the DAW, without doing anything to the master output. The most I do is turn down the master fader to avoid any peaks hitting zero. But if I've mixed it properly, that should rarely happen.
What do you think?
