It is one of the most discussed topics in audio, and often one of the least understood. How many times have you heard "This is the best 2 bus compressor" or "This EQ really shines on the mix bus!"? But does that mean that it is the rightpiece of gear for the material that you are working on?
In this pureMix.net exclusive, Grammy Award Winning Engineer Fab Dupont explains his approach and philosophy to 2 bus processing, breaking down each step of his chain and the role it plays toward creating a tone for the track.
Learn how Fab sets up his two bus chain with:
High Pass Filtering and EQ
Precision EQ
Compression and how it can affect the relationship of all of the elements in the mix.
Color EQ
Limiting
Once you have seen how Fab does it, download the mix he is working on and use what you have learned to create a 2 bus processing chain that works for you!
Learn theprinciples of Mix Bus Processing, from Fab Dupont, only on pureMix.net
Parts of this site and some files are only accessible to pureMix Pro Members or available to purchase. Please see below our membership plans or add this video to your shopping cart.
00:00:00 Good morning children!
Today we're going to talk about
Mix Bus processing,
also known as 2-Bus processing,
also known as the bunch
of plug-ins or hardware
that sits on your Mix Bus and is
supposed to make your mix sound bananas,
but doesn't always, does it?
Obviously, if you have
a passion for mixing,
you went and looked at
what Andrew does,
or Mick, or me, or CLA,
or whomever you are interested in
does on their Mix Bus.
00:00:31 However, what they do, what we do,
is for the reasons that we chose.
00:00:36 What I propose we do
is I help you build
a Mix Bus strategy
based on your needs.
00:00:44 Let's try!
To do so, we're going to
keep it very simple
and very bare
so that you can tell immediately
what everything in the chain does,
so that you can alter it to your needs,
hence, the 2-Bus processing that you need
— not mine, not CLA's, not Andrew's.
00:01:02 My example today is going to be
a song called "SambaFled"
by the amazing band called
By Atoms Moved.
00:01:08 I want to play a little bit of the song
just for entertainment.
00:01:11 There is nothing on the 2-Bus.
00:01:13 So what I did is I removed all my
2-Bus processing for my mix
and I have the whole mix right now raw.
00:02:10 Pretty awesome!
What I'm going to do
is I'm going to pretend I'm mixing this
so that we can focus on just this 2-Bus.
00:02:17 Obviously I'm not mixing it,
and I've done all my tones
and everything is balanced
because I just removed the
2-Bus processing from this 2-Bus.
00:02:23 But to create the illusion of illusion
I'm going to mute the other stuff
and turn it back on as I go.
00:02:34 The first thing I recommend
when you set up your Mix Bus
is put a limiter on the end.
00:02:40 Not because you're going to crush it,
just to protect yourself from overs
and also to give you kind of a
gain stage system.
00:02:47 Check it out.
00:02:49 I want to use the UAD version
of the Oxford Limiter
because it's bananas.
00:02:55 There are lots of other
limiters out there,
maybe you like the Pro-L,
maybe you like the Massey,
maybe you like the L2.
00:03:03 It's a question of choice.
00:03:05 I like to think of transients
as the soul of the music.
00:03:07 Consequently, I wide-open
the Attack on my limiter,
if I have an Attack on the limiter.
00:03:12 I like this limiter because I have
control over the Attack.
00:03:15 I tend to leave the Release
where it's at,
I never really dealt with it
unless I had a problem.
00:03:20 The idea here is for you
to have enough control
to be able to shape the presence
of the track using the Attack,
if you have to, at the last stage.
00:03:28 So, obviously,
right now nothing has changed.
00:03:35 The Oxford Limiter
has a tone to itself,
but you know,
we could use any other limiter,
whatever limiter makes you happy.
00:03:42 The key here is to set up
your gain stage
and have something have your back
at the end of the mix.
00:03:48 I, by reflex,
always lower the Output of the limiter
a smidgen of a dB
so that I don't have any clips, any overs.
00:03:56 But with the new delivery formats
at -14 LUFS,
frankly,
I don't hit it that hard
and I almost never hit the ceiling.
00:04:04 But, you know, you may.
It depends.
00:04:07 It's all a question of taste.
00:04:08 I would start my mix
with working on vocals
— except sometimes
for instrumental records —
and then I would have
the limiter set up,
and then I would go from there.
00:04:17 The other thing that I usually
have set up from the beginning
is some sort of a combo:
EQ, high-pass filter, whatever.
00:04:24 Since we're doing
a simplified version here
and we are using
really high-quality tools,
what I want to do
is I'm going to do just that,
and I want to use
the Dangerous BAX Master.
00:04:37 This guy.
00:04:39 The reason why I like this guy
is because it has
a high-pass filter in it
and is super, super, super-smooth.
00:04:45 And on my hardware chain
I have the same unit,
and it's parked at 30 Hz all the time,
and then I play with it depending on
how much of the low end I want to extend,
but it's nice to have this.
00:04:55 So that's one option.
00:04:56 Sometimes I also use this guy.
00:05:00 This guy is great!
A very good plug-in,
extremely well-designed,
works wonderfully,
but today I would like to
stick to the Master.
00:05:10 There you go.
00:05:11 You can use whatever EQ you like.
00:05:13 I could use the Cambridge,
I could use an EQ that has
character, for example,
but in this particular case I want to
keep things very clean on the way in.
00:05:22 This EQ here
would allow me to compensate for any
obvious mistakes or balance problems
because this is really smooth.
00:05:28 So, for example,
if my track were a little dark
or missing a little bit of high end,
I could, at the entry level,
right at the beginning,
work on this and create some sort of
compensation on the track.
00:05:39 Obviously, in this particular case
I don't need it,
but it's nice to have as a tool.
00:05:43 Most often I will use that for the bottom,
because as you start compressing
and creeping things up level-wise,
then you will need to compensate
for loss of bottom one way or another.
00:05:55 This is a good way to do it.
00:05:56 I would be in this position,
working this way.
00:05:59 Maybe I would have
the low-pass at 70 kHz.
00:06:02 Placebo, but it feels great,
like most placebos.
00:06:05 And then maybe I would start
turning the bass on.
00:06:12 In theory, this should make
no difference.
00:06:14 I have the bass and the vocal
with no compression,
just the limiter and the BAX.
Check it out.
00:06:40 That's where the theory
and the practice differ.
00:06:43 The Oxford has a tone to it
that I like — that's why I use it.
00:06:46 If I replace it by another limiter
maybe I won't have as much of a tone,
but I like this tone,
it gives me a certain density.
00:06:51 You heard that, right?
Listen to the bass.
00:06:53 Check it out with.
00:07:07 It's silly but it's fun.
00:07:09 Of course, if I wanted to,
I could add some bottom here,
or some high end here right now,
but I don't know what's about to hit me.
00:07:15 Remember we're mixing the track as we go?
So I don't know what's going to hit me,
and also, I know there's going to be
a compressor after that.
00:07:21 And there are special cases
in which you want to hit
the compressor with your bottom,
probably when your bottom is so overt
that you can't really keep track of it
and control it very well,
so it's nice to EQ before the compressor.
00:07:33 But if you want things to bloom
and really feel natural,
it's better to EQ after the compressor
on the 2-Bus,
especially since you will send this track
to a dude named mastering engineer
who is going to EQ
and compress further after you.
00:07:45 So, keep things simple so you
don't have to have a conference call
with your mastering engineer,
because those are no fun.
00:07:53 Not the mastering engineer;
the conference calls.
00:07:55 Then,
I would probably start adding kick.
00:08:13 And depending on how the kick hits,
at that point I'd like to set up
my 2-Bus compression.
00:08:19 In a case like this
I will have 2-Bus compression
to keep things tight and together,
and so that when it goes up in energy,
say on a chorus or a bridge
or some solo,
I want something
to push back against it
so that it just, like,
densifies it a little bit
as opposed to just going [sound].
00:08:37 Unless I want it to go [sound],
at which point I would
turn the compressor off.
00:08:40 So there's a lot of talk
about different Bus compression,
and some are called The Glue
because they're supposed to glue
this stuff together,
and some are called, like,
'miracle this' and 'miracle that',
or the Bettermaker,
and I'm sure they are all great.
00:08:52 It's a compressor.
00:08:54 It compresses.
00:08:55 And some of the compressors
have certain characteristics,
and others don't have characteristics,
meaning some are completely transparent,
and some add a little bit of tone
when they are modeled
after a vintage compressor.
00:09:06 So if you put an SSL 4000
compressor across your 2-Bus,
what's going to happen?
Well, your bottom is going to
come up a little bit
because the SSL 4000
has that effect. Check it out.
00:09:17 I'm going to use a brand-new one
that they redid of the redo
to redo the redo
so that it's even more accurate
than accurate.
00:09:25 A wide-open Threshold,
no Make-Up Gain,
a wide-open Attack to try and get
as little compression as possible.
00:09:31 The gain stage of this session
is pretty high
even though I took
the sub-master down,
which means that it's going to
compress a little bit,
but check out the sound.
00:09:58 Listen to the bottom of the bass drum,
the [low end sound].
00:10:16 It focuses it a little bit because
it gets rid of the super-bottom.
00:10:20 Okay.
00:10:21 If you don't want to have that color,
you can choose a plug-in
that's transparent
and use it across your 2-Bus.
00:10:26 So basically anything that is modeled
after a vintage piece
is not your choice.
00:10:30 If all you want to do
is the compression,
then choose something like this guy.
00:10:35 So, as a reminder,
as you can see I'm basically
not compressing.
00:11:00 So the Precision Buss Compressor from UA
is more transparent
than the UA SSL emulation.
00:11:06 The reason for that
is that the UA SSL emulation
is imitating the whole SSL thing,
including the Input and Output stage.
00:11:12 This is just a nice, clean compressor.
00:11:14 Now that we have a compressor,
how much are you going to compress?
Well, you have to decide
the tone that you want,
and that will come over time
as you copy other records
and form your own taste.
00:11:26 So if you don't exactly know right away
how much Bus compression you want,
I would say keep it to a couple of dB.
So let's do that.
00:11:44 So now you know
that you are compressing 2 dB.
00:11:46 For you to really educate yourself,
you have to make sure
you listen at the same level.
00:11:50 Right now,
if I listen to it uncompressed...
00:12:03 The compressed one is a little softer
because it's compressed,
so let's compensate for that
on the Output.
00:12:08 I want to try 1.7 dB.
Let's see.
00:12:25 It's really hard to level-match like this.
00:12:28 What I do is I pick one instrument
and I focus on that,
and then I pick another instrument
and I focus on that.
00:12:35 Obviously the compressor is going to
change the balance a little bit,
so you have to average.
00:12:39 Let's listen to the vocal.
00:12:50 Let's listen to the bass drum.
00:13:01 It's a smidgen louder.
I want to go down to... 1.4 dB.
00:13:22 Listen to the relationship
between the bass drum and the bass,
listen to the bass moving,
listen to the texture of the vocal,
and listen to the extension
of the bass drum. Again, without.
00:13:49 See how the bass
is much more in place,
much more connected to the bass drum?
It feels a little louder
so I'm going to lower it a little further.
00:13:58 Listen to it again, without.
00:14:21 I got lost into it,
which means it's getting better.
00:14:25 Okay, I think this is acceptable.
00:14:27 So, how do you think about this?
Well, the thing that's great here
is that you are not doing much damage,
but you are helping yourself
towards a more condensed mix,
because every time you're going to
open something else now
in the process of making your mix,
this is going to push against it.
00:14:41 If I open the guitars
and the synth and everything,
look at how much compression we get.
00:14:57 We're now in the 2 dB range
of compression,
and this is what it sounds like without.
00:15:19 Right? It feels more record-ish,
more together-ish.
00:15:22 That's because the Attack
is not too fast,
so it lets the transient through
and then the thing behind the transient
is getting compressed
and kind of, like, sauced together, right?
And that gives this texture to it.
00:15:34 It's important.
You should learn this sound
because that's the sound
that you are looking for
as a basis for 2-Bus processing.
00:15:40 Then you can go crazy,
and, like, really crush it
if you want kind of a
more '80s, early '90s sound,
or not have any at all,
or just a smidgen.
00:15:49 But as far as the idea
of keeping things together
and making sauce or glue together,
this is the way to do it, in my opinion,
without risking the whole muffled thing,
no transient vibe, okay?
And you can play with a couple more
parameters that I'll show you in a second.
00:16:24 Out of curiosity, what would happen
if we actually compress with the SSL?
I said a couple dB, right?
I'm tempted to speed the Attack up
because things feel a little disconnected.
00:17:08 So let's compare the SSL
with the Buss Compressor.
00:17:24 The levels are not matched.
We are lying to ourselves.
00:18:02 What did you think?
I want to give you my opinion, but that's
an opinion piece of this plug-in.
00:18:06 My opinion is that for this track
this SSL compressor doesn't work.
00:18:11 I've done many mixes with this
compressor and I loved it.
00:18:15 It's on many, many mixes,
but here I wouldn't use it.
00:18:18 I would use this
and be happy with it.
00:18:21 My recommendation to you is,
if you are building your arsenal,
until you are 100% intuitive
and can tell ahead of time
what your gear is going to sound like
in all situations,
then I would have a couple options:
a clean, transparent option,
and then a vintage-y
kind of like colored option.
00:18:37 And here I would call the SSL
the colored option
because it changes the sound of the tone,
even without compression,
and then I would keep a clean option
like the Buss Comp which sounds great.
00:18:46 It is very useful
and has lots of features.
00:18:49 That way, you can start with that
and then maybe you can try the other one
if it's not quite working,
but you have two options,
which is why I'm leaving holes
in-between the plug-ins
so I can insert other plug-ins in-between
without having to reorder.
00:19:00 So now I have this
and I'm happy with this.
00:19:02 Now I'm going to add some color,
meaning I want to be able to EQ
the whole thing.
00:19:08 And usually for this I love,
love, love, love the Pultec vintage thing.
00:19:14 This one.
00:19:16 Hi gorgeous!
It's not necessarily
the most accurate one that they have,
but it's the one that has
everything I use,
so it makes me happy.
00:19:23 I will use this for color.
00:19:25 Check it out.
00:19:26 Without.
00:20:02 Any "tube" transformer-based EQ will do.
00:20:07 You could also do it
with a clean EQ, but I just...
00:20:10 I'm a sucker for the transformer sound.
00:20:13 On this one, or any other one,
it's really fun to go
to the 16 kHz range
and have a fairly high Bandwidth,
and just open the top very gently.
00:20:22 Check it out. I'm going to go
way too far and then come back.
00:20:52 So that works great
to extend the high end.
00:20:54 Depending on how bright your track is,
or how much you're fighting
during your mix,
you can play with the frequency here.
00:21:00 For example, if this were dull,
I could open the high end
by going down in the frequency.
00:21:23 Usually, when I mix with hardware,
I have a Manley Pultec
and it's got this setting:
about 2.5 clicks at 12 kHz
and 2.5 clicks at 20 Hz,
and it sounds like this.
00:21:55 The gain on this emulation is more than
the gain on my Manley Pultec, obviously,
because it's starting to get muddy,
so I will lower the gains.
00:22:01 What this does is,
it does this, right?
And you have this sitting
across your mix at all times.
00:22:07 I would usually add color
before I go here,
or sometimes I would choose the color
at this point.
00:22:40 Then I would add stuff as I go mixing,
but this is just sitting there, doing...
00:22:44 Like, sitting pretty,
and I'm not listening to it
once I've set it up.
00:22:56 So, we started here.
00:23:17 So, yes, there is gain.
There's gain because I'm EQ'ing.
00:23:20 If you're EQ'ing,
you're adding material.
00:23:22 If you're adding material,
you're raising your gain.
00:23:25 So, remember that when I showed you
the 2-Bus compressor
I told you, "Let's match it."
I matched it for you to be able to hear
the difference with and without,
but usually in real life
I would not raise the gain here.
00:23:36 I would let this sit pretty
because I know that the EQ after that
is going to add gain.
00:24:01 Even without raising the gain,
because of all the adding,
we're getting a little louder,
but that's okay, that's okay.
00:24:07 We can compensate here
to make sure we have a true A/B.
00:24:12 It's okay to go lower than zero
on your limiter
as long as you do it
for a good cause,
which is in this case
not lying to yourself,
which is always a good cause
in mixing and in life.
00:24:38 Now you see the difference, right?
When we started this
we listened to what was exactly this
and we thought...
00:24:44 Well, at least I thought,
"It sounds great!"
But now that we've evolved
and we heard it more in the context
of what would happen on the record
with a more traditional 2-Bus processing,
we hear that the relationship
between drums and vocals,
for example, is more interesting with.
00:25:04 This is without.
00:25:24 It fills the gaps, and makes
everybody feel together.
00:25:27 Why? Because they're pushing against
a little bit of compression,
almost nothing,
and just kind of, like, hitting a wall,
and then hang out together,
and that's a good thing.
00:25:37 I think the levels are pretty matched.
00:25:39 Let's see if I go down -1.5 dB.
00:25:55 It's an even better match,
and you'll notice that
when we remove the processing
the bass drum kind of hangs out alone,
and the processing
puts the bass drum back in.
00:26:03 We're doing almost nothing,
this is just gain.
00:26:05 And this is...
00:26:11 1.5 dB of compression,
and just a smidgen of EQ here.
00:26:15 So this is a really good basic chain.
00:26:18 Here are a couple extra tricks.
00:26:20 If your 2-Bus compressor allows for it,
it is interesting at times
to check out the high-pass filter vibe,
which means you will
high-pass the Sidechain
so that this compressor
doesn't react to the bass drum as much.
00:26:33 I know we just said
that the whole point of this
was that the bass drum was kind of hanging
with the rest thanks to the compressor.
00:26:40 Yes, but sometimes...
00:26:42 often,
it's nice to high-pass
the 2-Bus compressor
and try something like this.
00:27:15 The bass drum flows better.
I'll play it again.
00:27:17 Full range.
00:27:37 Original mix.
00:27:57 So, obviously,
high-passing the Sidechain
on the 2-Bus compression
gives you less compression
because a lot of the energy
comes from the bass drum, right?
So it's a question of choice.
00:28:07 In this case — and this is entering
the level of taste —
I might lower the Sidechain frequency
down to the forties
so I have a little more control
on the bass drum,
a little more compression across.
00:28:18 Let's see if that works, or not.
00:28:26 I don't like that at all.
Hear how it becomes pointy?
Let's hear it full range.
00:28:43 So in this case I like
full bandwidth compression.
00:28:48 Obviously at 2 dB of compression
across the 2-Bus
you cannot do any harm,
unlike Google.
00:28:54 This is a very nice, simple,
easy to learn Mix Bus chain.
00:28:58 You don't have to use
these very plug-ins,
you only have to find plug-ins
that do what these plug-ins do,
namely, first,
an EQ that has a high-pass,
but also the capability to compensate
for major discrepancies in your mix.
00:29:13 And then, a 2-Bus compressor.
00:29:16 At the beginning I would pick
something that is transparent
so that you don't screw it up,
and then you can go from there.
00:29:23 It's nice if the 2-Bus compressor
has a high-pass on the Sidechain
so that you can spare the bottom
of your mix, should you need to.
00:29:30 If you mix a lot of hip-hop or dance,
it's nice to have it.
00:29:33 It's not necessary if you keep
the compression to a very small amount.
00:29:38 Then, some sort of a smooth,
happy curve EQ.
00:29:42 The BAX would work
for that too. This guy,
or something like that.
00:29:46 I use a Pultec because I like
the sound of the transformers,
but you don't have to. Anything goes.
00:29:51 And then a limiter to use
as a gain match
and also as a trim output
so that you don't clip
should you be working in the loudness
loud of the loud range.
00:30:03 One more thing.
00:30:04 Very often
across the span of time
you spend on a mix
you will find some stuff
starts to bunch up,
so I find it's always a good idea
to have a precise EQ in line.
00:30:16 I'm going to use the Oxford
or the Cambridge.
00:30:20 So what is this for?
This sits empty, doing nothing
most of the time,
so you have to have
one that has no tone,
so, a modern EQ like
the Cambridge or the Oxford
or whatever, the standard EQ in Logic,
anything that has no tone to it.
00:30:34 That is great to have
because sometimes, often,
when you're mixing, things add up,
and there's frequencies
that are kind of bunching up together.
00:30:42 Maybe the bass drum and the bass
are kind of creating a peak,
often in the 90 Hz area
or the 200 Hz area.
00:30:48 And if you EQ the bass drum,
it doesn't quite work,
and if you EQ the bass,
it doesn't quite work,
and often you have 150 tracks and you
don't even know where it's coming from.
00:30:56 It's a lot easier to just go here
and say, "Hey, you know what?
Let's take 200 Hz down, here."
Isn't that much better with?
We started with this.
00:31:37 -3.6 dB was too much.
Let's do -1.5 dB.
00:31:40 And
this is a bit much.
00:31:44 I think it's more like -1.2 dB.
00:32:16 Each of these five plug-ins
adds something very particular,
and it's something
very particular to itself,
which means that if you have a problem,
it will be easy to find out where it is.
00:32:25 If your transients collapse,
it's not going to be your limiter
because it's wide-open on transients,
it's going to be your 2-Bus compression.
00:32:31 If the record becomes really bright,
you can tame the Pultec.
00:32:34 If the record is a little thin,
you can use the BAX
or whatever EQ you have there,
and add a little bit of bottom.
00:32:54 And that bottom will get pushed against
by the compressor.
00:33:05 You could add more things:
you could add a tape plug-in
on the top slot there.
00:33:09 That's where I put it.
00:33:10 It softens transients further,
adds a little bit of shine.
00:33:13 You could add some enhancers
or some saturation,
like an Inflator,
or maybe the Precision Maximizer
or something like that
if you're competing with something
that's over-the-top
and you don't want to make it bright,
you just want to make it [grunt].
00:33:26 You can do that, and that's cool,
but these plug-ins, in that order,
are a great way for you
to create an environment
in which you can work.
00:33:35 Back in the day
there was a console,
and the console had a tone,
and there was a 2-track machine
that had a tone.
00:33:42 There were transformers everywhere,
and there was the SSL compressor
on the SSL,
so nobody mixed in the void.
00:33:48 Nobody mixed with a pure, digital,
totally transparent
boundaryless environment.
00:33:53 There were restrictions,
there was a tone, there was a color,
there was your vibe.
00:33:58 And so the idea is to recreate that
with a few plug-ins,
but
to stay in touch
with your inner Mix Bus life,
and make sure that you don't lose track
of what everything does.
00:34:08 Otherwise, it becomes hell on earth.
00:34:10 It's a lot easier to know
that the bottom
comes from a little bit of a push
at 20 Hz with a Pultec at the end,
and you'll know it right away
when it's too much,
and you can adjust it very easily
rather than trying to match
three different bass drums,
plus a bass, plus whatever
is hanging down there.
00:34:26 So it's a good way to simplify
the overall color of the mix,
and to have one chance
to learn what everything does
and intuitively know
where the problem is,
or where it's lacking, when it is.
00:34:39 Try it! You might like it.
00:34:41 Et voilà.
Once logged in, you will be able to read all the transcripts jump around in the video.
Fab Dupont is an award-winning NYC based record producer, mixing/mastering engineer and co-founder of pureMix.net.
Fab has been playing, writing, producing and mixing music both live and in studios all over the world. He's worked in cities like Paris, Boston, Brussels, Stockholm, London and New York just to name a few.
He has his own studio called FLUX Studios in the East Village of New York City.
Fab has received many accolades around the world, including wins at the Victoires de la Musique, South African Music awards, Pan African Music Awards, US independent music awards. He also has received Latin Grammy nominations and has worked on many Latin Grammy and Grammy-nominated albums.
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I would love if you didn't stop the track and started it again when A/B..especially with that crash it really takes me ears away from the previous version. Other than that, very nice and informative video! I made myself a Mixbus Rack in Ableton with this idea + a few different compressors that is mapped to snapshots so that I can quickly A/B them without any interruptions :)
johntom
2021 Jun 29
...
johntom
2021 Jun 29
Una
johntom
2021 Jun 29
The SSL buss comp has 30 ms attack. The UAD half a ms attack
HernanGG
2020 May 28
thanks fab!
guillermo blamey
2020 Apr 08
HI!!! somebody know a FAB FILTER compressor to replace the UAD Precision Compressor, thats Fab use in this example ? I DO ELECTRONIC MUSIC...I did with FAB FILTER PRO MB, but I am not sure if it works...thanks for any kind of feedback....fantastic tutorial!!!
Almix
2020 Feb 13
anyone else hear strange artifacts on the vocal? specifically the words "to do"?
rwhitney
2020 Jan 08
Nice workshop! I find matching levels by ear very difficult, so I use a meter before the limiter.
mauricio.me
2019 Oct 29
I love when you say hello childrens hahahaah
chazz.h
2019 Oct 21
Please stop with the patronizing "children" call. Grinds my gears!
studiosix
2019 Sep 05
Very nice. After your Cambridge EQ, I thought "he cut too much" and indeed you went back! Thanks for improving my ears with all the lessons.
ahmetroxen
2019 Aug 21
Great video! But i need to understand the difference between mix buss processing and mastering. So if I will send my mix to a mastering engineer do I need any processing on the final buss before printing my mix?
ahmetroxen
2019 Aug 21
Great video
ahmetroxen
2019 Aug 21
Great video
Pearlpassionstudio
2019 Aug 13
I watched this several times to really understand your theory approach with the 2 bus...it finally sunk in and makes a lot of sense..Having all these UAD plugins shown, I will try this. I'm sure I will see better results. Thanks Fab
Edgardo
2019 Jun 30
Jesus that bottom...
Tamko
2019 Jun 28
Thank you very much. This kind of minimalistic technique, when you make just a few little things, but each one is absolutely precise, is something we really need to learn (not only in music, as you say).
chiren
2019 Jun 08
Fab is the best teacher! Great practical video once again!
Electric_Company
2019 May 21
Invaluable stuff Fab, thanks!
I've been mixing for a while now and this has helped tremendously.
Cheers and beers from Scotland, Robert.
beau.s
2019 Apr 30
Very pragmatic and tasteful. It’s like you’re just getting out of your own way with a streamlined approach like this. It’s easy to go crazy on each individual track which creates more issues than it’s worth at final mix.
andre.mc
2019 Apr 23
Thank you Fab!That was very informative.You guys are explaining things much better these days.And I really appreciate you!"You know that already!"
Pearlpassionstudio
2019 Apr 17
Excellent explanation, thanks. I heavily invested in Apollo interfaces and UA plugins with the last few years. This tutorial and your brilliant talent put everything in perspective.
onlinemusic
2019 Apr 16
Can you discuss why you chose the legacy UAD Pultec vs. the 2nd gen version? Thank you.
onlinemusic
2019 Apr 16
Thanks! re: Tape emulation-you mentioned that, when you use it, you put it in the top slot. I'd think you might put it toward the end (as if mixing down to a tape deck.) Can you talk about why you put it first?
firecracker
2019 Apr 13
Do you always use 20hz boost on the Pultec on the mix bus or does it depend on the material?
ezracipes
2019 Apr 13
Really helpful down to earth explanation
tobbegorm
2019 Apr 13
Great and informative video Fab! The Pultec is pure butter for the ears.
Would you ever use a multi-mono compressor on the mix bus or do you like to have equal gain reduction on both channels?
Sakazi Sigal
2019 Apr 12
Great!
One question - when do you use this mix buss processing - in the end of your mix or right at the beginning and you mix into it, adjusting it along the way?
Thanks!
chris.massa
2019 Apr 11
Always take away useful information. Restraint and small moves.
joethecomposer007
2019 Apr 11
Once again Fab has Blown my Mind! How does one man know so much ))
