![]() ![]() The magic in mixing though comes mostly from the careful treatment of individual tracks and group busses that comprise the stereo mix. Any mastering engineer worth their salt will be applying combinations of these techniques. Of course I’m familiar with these techniques and concepts and agree that they’re extremely useful, but generally this sort of processing exists in the realm of mastering rather than mixing. Just gotta have them all set and on from the very beginning so your mix decisions are complimenting the 2 buss processing into a unified whole.Īre you familiar with Andrew Schepps? I take a lot of influence from his approach. ![]() These factors play a huge role in the sound of my reverbs, for example. There's also the tonality and harmonics they impart, and the subtle stereo emphasis that comes from unlinked compression. 1 compressor doing 4 dB gain reduction tends to sound much more dramatic than 4 compressors each doing 1 dB gain reduction. Stacking compressors with complimentary time settings allows for a more complex and natural sounding gain reduction in my experience. The needles are barely moving in most cases. It's not like if I take these plugins off the mix disappears. Generally anything beyond that is better left to the mastering engineer rather than the mixing engineer. wrote: A mix (pre mastering stage) shouldn’t require much if any 2buss processing to sound good if the individual components are treated properly. ![]()
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