I test all my mixes with and without master buss compression. It's pointless to mix something without at least testing some basic "mastering" settings. I leave it on probably 80% of the time. It's not "automixing" and I think Bob Rock has lost all credibility thanks to St. Anger.
Hey kazrog, a lot of people would call mixing with a bus compression as " mastering" settings but i wouldn't call it that as i actually mix from the start with a compressor on the bus instead of putting it on the end. There's a difference because my mix would fall apart/ sound very different if i took out the compression ( not that i mind because i want that sound anyway ) and wouldn't be able to use
to quote Charles Dye ( where i read about this technique from a fellow engineer showed in on an old digidesign mag + on gearslutz ) :
With most of the music I've been mixing lately (rock or other aggressive styles) 4 dB of compression has been sounding really good. It may sound like a lot, previously when placing the compressor over buss towards the end I would hit it only 2 to 2.5 dB, but I also had more compression on the individual tracks. Since I now use less individual compression, it probably works out to about the same amount of overall, just a different way to apply it.
Mixing this way gives me a sound that's very different than the more controlled sound of individual compression, a lot of automation, and light compression on the bus. It really sounds much more exciting. Explosive. As if things are at the brink of popping through the speakers. I love it.
I should also say that this is in no way considered mastering compression. Compression across the stereo bus while mixing is done all the time on most of the records you own. Whether inserted at the beginning or towards the end it's been a pretty standard technique for decades done by engineers all over the globe. If you need anymore proof, I have three letters: S - S - L.
questions about Stereo buss processing that he has answered :
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Originally posted by not_so_new
This is nothing new but I will put a comp on the mix bus (errr... or buss) but I don't print it to tape. The old saying "don't fix it in the mix" is the same to me as "don't master when mixing." Maybe I am just too old school but I want to get the vibe of my mixes from the gel of the tracks and punch it up later. Maybe I don't trust my room or monitors or ears enough but I don't want to paint myself into a corner.
NSN,
I wasn't clear in my original post (I've made a change so it would be), but I don't consider this mastering in any way. Compression on the stereo bus of a mix is a pretty everyday technique (the SSL compressor). When I take my mixes to mastering the ME still adds more of his/her type of compression + limiting. I definitely support the idea of leaving mastering for the ME. I don't do limiting of any kind to my buss.
I understand your point though, I just suggest when you mix through a compressor, every decision you make will be based on that exact compressor's personality. I think you don't have any choice, but to print it. If you aren't sure also print one without + pick the best one @ mastering.
Hope this helps.
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Those plugins just make it much easier to mix 'cause all instruments start sounding much better right way.
That's exactly what I'm talking about with mixing through a compressor as well. The mix just jumps together. It's pretty cool.
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But I do play very light with it 'cause I don't' want it to compress too much so, like you said, it doesn't push "backwards against your changes".
I don't worry about that anymore though. I only care what the mix sounds like after the compressor.
And it's pretty easy to tell when your pushing the compressor too much. When that happens the mix starts caving in, it begins to take on a very hard sound, almost hammer to anvil like + it seems like you have to turn things up way too much to be heard. So, just back off the threshold + let the mix breath a little bit more.
Hope this helps.
