The Master Bus Signal Chain EXPLAINED

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0:00 - Intro
2:32 - How To Approach EQing The Master Bus
4:36 - Stereo Bus Compression On The Master Bus
7:15 - How To Add Saturation
8:22 - Multiband Compressor
10:04 - How To Use A Limiter On The Master Bus
11:29 - Outro
Song: JST Team - “Demo”
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Tags: joey sturgis, audio production, audio plugins
#productiontips #audioproduction #mixingtutorials

[@metatron333ascension]

maybe transient designers? Here lately my mastering chain is consisting of a coloring EQ called BlendEQ by Analogue Obsession. Each individual band you can select to use Neve, API or a blend of the sound. it also has saturation. then i use a non coloring EQ to do some cutting of frequencies, then into the JST bus glue and finally JST maximizer. I do sometimes try out different chains to see if i can get different sounds.

[@Sense_of_Insight]

This series is great thanks for covering top down in more detail this is a great check for myself to cover any knowledge gaps... sort of the problem with getting a "degree" from the university of KZbin 🤣

[@rome8180]

I almost always have tape saturation on my master bus. My order is usually tape saturation, EQ, compression, limiting. I don't know if that order makes the most sense, but it works for me. Sometimes I'll have a second EQ after the compression. I usually use something by Brainworx as one of my EQs because they have built-in "monomaker" and "stereo width" knobs. Don't worry. I play it very safe with the stereo width. A lot of times I don't use it at all. The "monomaker" helps make sure that your low end is tight and focused.

[@baarbak8188]

I love your channel. Your explanations are very clear, everything with describe with the right dynamic.

[@joeymusic]

So glad you’re enjoying the channel! Anything you want to see covered in a future video? -Miami

[@baarbak8188]

@@joeymusic I don’t know how to start when it is matter to create the expected bass tone. Which bass which Setup for a given guitar tone. I’m more confortable for guitar as I’m guitar player.

[@rome8180]

No matter what the song, I find myself using master bus EQ to cut or boost in roughly the same ranges. Broad cut in the low mids, small boost between 3k-5k, boost or shelf at 12k or higher. My mixes tend to be a little scooped. The boost in the "harsh" 3K-5K range helps with that. It also improves vocal intelligibility and the "bite" of the guitars.

[@k-chill8428]

6:40 Great video but I was confused by this bit. Make-up gain alters the volume after compression, right? So in my understanding, matching the output level to the input level would actually help with hearing what the compression is doing (same if the compression was boosting the volume). Also, wouldn't altering the levels of the individual tracks potentially undo any adjustments made in the EQ (and the whole top-down mixing ethos)? Just trying to work out if I had misunderstood something.

[@JonathanKillstring]

Hey Miami! When you're setting up a template for top-down mixing, do you leave the EQ blank? Since it's corrective. Like in the example here, the EQ is correcting a low-frequency buildup: but that might not be present in every mix. So do you just leave it on the chain, ready to spring into action if needed, but otherwise inert?

[@joeymusic]

Nah, I’ll explain this in the next video. It’s a general eq curve that gets applied -Miami

[@sahrngaujah8812]

Tell me about that Audient ID 24 on your desk. Is it dope?

[@erayylmz420]

Hey man quick question, if you use these effects after you’re done mixing like the examples in the video isn’t it almost the same thing as leaving it to the mastering engineer? I thought the main reason of a stereo bus chain was to have an idea of how the song will end up after it’s been mastered

[@Sense_of_Insight]

The idea is to start your session with all these effects on your master bus and then load in your other busses and begin to treat them afterwards. If you mix multiple genres you can setup different templates for each style and then use them as your starting points. You may need to tweak things slightly such as release time depending on the song or whether or not you want to use multiband compression. But this way as you make adjustments on individual tracks or seperate busses you will get closer to a finished sound where in traditional mixing you start mixing your tracks and busses then treat the master at the end.

[@erayylmz420]

@@Sense_of_Insight thnks you know your stuff!

[@alexschneider8494]

Hey Miami, you think you could dive into some of Mick Gordon’s tricks from the Doom soundtracks? I know he explains a lot of the stuff in presentations and talks, but for people who aren’t super advanced into mixing and mastering yet it can be overwhelming and confusing. I always want to try and get things like that layered synth and guitar sound he uses or some of his transitions using what sounds like automated high pass filters maybe? I always wonder about how to do things like EQ the synths when you want to layer them under your guitar tracks and what kind of synth sounds should be used. Thank you. I love the videos. I’ve started using quite a few things I learned in the last month or so from binging JST videos and I even picked up a few products from the store to use with Reaper.

[@joeymusic]

Yes, I will do this in a future video -Miami

[@alexschneider8494]

@@joeymusic Sweet. Doom core needs to just be its own genre now because that style is gnarly

[@devoidofskill]

@@alexschneider8494 It kind of is. Search up Geoffery Day and Argent Metal.

[@HonoraryBreathTaker]

BUSTERse still contains bug when he multiplies gain reduction he shows you x2 times.

[@aambulancestudios1474]

Hi

[@gh0ul.nin9]

look, bruv, i for one enjoy bri’ish miami