Mix Bus Processing: How to Compress, EQ, Limit and More (...Without Destroying Your Mix)

[@RAZALAHORI]

every time i watch a mixing video i learn at least 1 new strategy that i wasnt aware of thanx for sharing your knowledge brother

[@SonicScoop]

So great to hear. That's what we're going for!! -Justin

[@dpinskey]

I have experimented with multi-bus processing, where I have set up like-frequency instruments and sub-mixes to different busses so that the compressors and limiters can work to push or tame specific frequency elements and then mixing those buses to taste to a final "master" mix bus. Works very well to avoid bass drums and bass instruments from causing unwanted pumping of other instruments in other frequencies without having to setup side-chain processing - plus being able to eq specifically to the frequencies prominent in those sub-mix bus channels. It seems to work better than using multi-band compressors and EQs on just one mix bus.

[@elianmusic7452]

My mixes have gotten exponentially more "finished" and "like a record" once i started to invest in certain plugins and use them very -VERY- properly and appropriately depending on contexts. Generally, an analog style eq is always there, followed by a compressor (either ssl bus comp or chandler germanium or novatron by kush) -- followed by Inflator which i have nothing but positive things to say about. True iron is sometimes there. and Then saturn by fabfilter also frequents my mixbus, or Blackbox HG2 ---- generally an eq, a comp, a saturator, and a limiter to catch peaks. Gullfoss makes appearances. Soothe is a rarity but its sometimes there to clear out resonances in low mids or very harsh highs What is crucial to this approach is to not "overcook" a mix through oversaturation, which i have been guilty of. This is something i thought of and i dont know if it already exists as a test but im sharing incase someone likes the idea: i have four sine waves at the very top of every mix session set to mute. One is is going through drumbus, one through midrangebus, one through vocal bus, and one through the Bassbus (i mix using 4 busses, sometimes 5 or 6 depending on situation i have a spatialbus which includes all delays and reverbs and wideners and a parallelmixbus) ---- These sinewaves must not sounds SIGNIFICANTLY COOKED when they go through my sub busses and my mixbus. If i hear second, or third harmonic clear as day, as loud as the fundamental or even close to that, i know i have oversaturated, and i back off on some true iron or tape emus across my mix. Saturation in steps helped me achieve great sound. Then i overdid it. Then i found perfect sweetspot through this sinewave test. My last four mixes have been perfect by my judgements even after months have passed and clients were over the moon :) Hope this helps someone (of course its much more than just saturation and good bus processing, but that was a key moment for me. Another factor is a touch of limiting on each level of bussing. Some clipping of snares and occasionally kicks. Properly applying spatial effects was huge too)

[@SonicScoop]

Interesting, I hadn't heard of that method before. Glad you found something that's working for you! Thanks, Justin

[@WNHHTV]

Can you help me mix and master my songs I need done asap like today I’m extremely serious about my music and taking it to the next level I’m pretty educated on what I have to do just need a helping hand step by step go to for a nice mix and master for melodic modern hip hop and r&b type music

[@bg4productionsllc]

Awesome

[@geertteekens]

Nice episode! I’ve been mixing through bus processing lately. I noticed I get to the end result faster, get a more cohesive mix and also get more feel for how the mix/master will end up compared to my favorite sounding records. Favored chain at the moment is: SSL Native bus comp UA Pultec for a little smiley face FabFilter limiter for some very light limiting and also indication where levels are too hot (say an automated snare or lead vocal) Sometimes a bit of tape simulation by UA of Fabfilter Saturn when needed. Keep up the good work 👍🏼

[@bg4productionsllc]

Nice

[@shanehen]

I appreciate that you debunk some of the “no-no’s” on the mix buss. Some state that you should not EQ on the mix buss when listening to references; instead you should go back to the individual tracks, so I like that you’ve shot that one down somewhat, because I have noticed that the individual track approach can be frustrating. Yes, mixing has “general guidelines” but they should be viewed that way and not as sacrosanct laws. I prefer stereo widening-if any-as a mastering process.

[@petrgabaj4958]

Thank you so much for the video and your experience 👍 I always went to a pro studio for stem mixing and mastering but now with a new project I finally decided to use properly all those great plugins I collected in last years - and do everythimg myself. I am definitely multi bus guy - that makes sense. I start to proces individual trax with slight EQ and some with subtle compressing, then in group buses again small compressing and then in the miy bus what has to be done. It certainly can’t avoid going back to individual track to pitch something. In fact I am mixing already when I record - I was never able to simply record the notes and then start to mix. Which is time consuming at the recording stage, but then little easier at the mixing stage. I have some imagination of the song and its sound in my head and I must get as close as possible to it already when recording to hear how individual instruments work together and if I go in right direction. Which makes me probably the slowest composer/producer in the galaxy 😂

[@cucumberforest]

I always start my mix without anything on the mix bus. And then I gradually wiggle compressors in. First on the instrument and then on the mix bus. Most of the time the corrections in the mix are then minimal. Until I hear the glue and grid that I want. Before I give the mix to Justin, I reduce the mix bus compression a bit.

[@SonicScoop]

Seems to work! :-)

[@masonvankraayenburg]

Mixbus processing has been an enigma for me so far. It’s good to get a quick vibe and glue but find myself preferring the openness in dynamics when turning it off, getting everything as close as possible with individual processing then revisit group and busses to finalize. I do enjoy hearing how things push into compressors and whatnot though.

[@cbrooks0905]

Same! If I use mix bus compression I try to set it to where the needle is barely moving because usually I don’t like the way it sounds when it’s actually working. I just like the vibe(sometimes) the compressor gives when everything is running through it.

[@bg4productionsllc]

Nice

[@RudalPL]

I'm a noobie. I started learning about mixing when Covid started. But so far I learned that mixing through separate instruments buses (drums, guitars, vocals, etc...) and then going to mix bus works the best for me. All I have on my mix bus is a stock limiter set to -0,3dB and with auto release turned on. Once I'm done mixing I'll print the song and then start "mastering". I still have loads to learn and there's a lot I still need to improve, but putting as little as possible on my mix bus works the best for me. :)

[@slim1275]

I always mix through mix bus processing. I use a template for the mix bus. I will adjust the settings, add/remove plugins as the music requires. The template is: compressor, EQ, multiband dynamics, limiter. The EQ I use for the template has about a 6db boost on the highs and lows. I usually keep the other plugins at whatever they are preset to. I started using this method a couple years ago when I clicked on a button I hadn't previously noticed. It dropped down a menu that included a menu for mastering templates. I also use buses for the various groups of instruments in the overall mix.

[@bg4productionsllc]

Good stuff

[@Necropheliac]

I’ve been putting a soft limiter before the mix bus compressor, on my mix bus. It sounds counterintuitive to put the limiter before the compressor and I agree it doesn’t make sense, but I’ve been won over on how it sounds. The key is to not hard limit, but rather just get the volume in the right ballpark and then fine tune the dynamics and sound with the bus compressor. The genre I’ve been working with has a lot of dynamics (think Adele, Amy Winehouse, etc…) so YMMV, but the sound of the mix has blown me away.

[@aceedmond8053]

Thanks Justin.... your info sharing is priceless...

[@miladbarikani3591]

I really enjoy watching your videos a lot and I have so much respect for you as a teacher I just leave every thing behind when I'm listening to you and just focus to what you say cause at the end I know you gonna trade me a lot more knowledge than what I already know you talk about how to doing it why and even talk about the feeling side of it , it's so complete that I even understand the reason of some of my experience and other made up rules they fed me all this years just appreciate what you do a lot you are making this world a better place by educating people at what they love

[@SonicScoop]

So awesome to hear!! Glad it's useful. If you are really digging it, please consider giving us a rating and review on Apple Podcasts. It really helps spread the word: podcasts.apple.com/us/podcast/the-sonicscoop-podcast-music-production-audio/id1448330690

[@yoalquisgomezramos4226]

100000000000000000000 percent AGREEEEEEEE. Thanks for your life and time. from Cuba a FAN

[@soundunitz]

Fridmans work on Boces is nothing short of amazing. Talk about pushing things…damn

[@raymondspagnuolo8222]

This episode was very helpful. Thanks. I am tempted to take your mixing course.

[@SonicScoop]

Do it! Do it! :-D I promise it will help. A lot. If it doesn't, just ask for your money back and I'll never even know about it! mixingbreakthroughs.com Hope to see you there! -Justin

[@mikewhiteman23]

Nice been thinking of this multi mixbus approach, great info as always. Thanks

[@MrCool144]

Do you have a podcast? Cuz I find I can listen to most of your videos in the background anyways. If you don't you should start one

[@SonicScoop]

Sure do! Search “SonicScoop” wherever you like to get your podcasts, and please leave a rating and review. Thanks much!

[@akumusik3582]

Another Great One🎼 Gratitude🕊️

[@GavinSteiner]

This video just made me a better mix engineer. Wow. You have rare way of teaching that really makes it easy to learn complicated concepts. Way to go, and thanks!

[@griffini19]

If it sounds better, it is better. Whatever it takes

[@bandrewes]

I use a fabfilter pro q 2, tegeler audio creme bus comp, UAD studer a800, UAD massive passive, soothe (sometimes) and the UAD precision limiter :)

[@JLMIXEDIT]

Thank you in advance!

[@chris-rb7bm]

great video. I was just using a limiter to mix into to get an overall impression of how the mix holds together, but now after watching this (and I might get your course soon too) Im going to start thinking of my mixbus processing just like any other channel and not be so scared, I think some top down mixing approach with compression plugs on my busses to start with followed by some global eq adjustments on masters eq is in order on my next mix! And I will use a reference file ! (I never really have got on with how to use reference files (even though I own a few plugins that A B reference mp3s etc. I think I will do this with Acustica-audio plugins and UA! Thanks :). Really interesting and I like the way you explain it all :). I do avoid it until now, but I did try ssl bus comps and other bus comp vsts, but never really did eq or any other thing, Thankyou I will definitely experiement with this on my next mix! :)

[@SonicScoop]

Very cool, let us know how it goes! Here's a whole episode we did on using references: kzbin.info/www/bejne/i2jbYnx7ft2rqs0 Hope that helps, Justin

[@bjmora9612]

I'll even throw a very subtle reverb (sometimes instead of the mix bus compressor!) at the end of the mix bus chain, after the limiter. Like 15% wet max.

[@bjmora9612]

I started not only with top down/middle out mixing but also a multibus / "Brauerizing" type approach... it was easier for me to hear compression than EQ! My current mixbus chain goes something like this: Gullfoss Master > SSL G Buss (UAD) > bx_digital v3 > bx_True Peak limiter > IKM Sunset Sound Studio.

[@DeeKeyLP]

first thing i do after volume balancing & automation on a track meant to be loud is i slap a limiter on a master and smooch it hard until it distorts. if it distorts at low relative volume (~below 7 lufs), i got a problem. usually it's in lows and low mids. after fixing that, i can be more creative with mixing :) also this technique helps with quiet tracks as well. the limiter kinda tells you where could be a potential problem. i usually do mix bus processing, very gentle VCA-style compressor, but as you said, there's no norm. or anything, if the track calls for it I'll heckin slap it with a hard clipper during mixing :) all of that kind of begs the question of creativity. if there's no norm and when textbook approaches fail, what can guys with "bad" creative decisions output? and who decides that they are bad? if it' s the masses, it's a whole another level, maybe a guy is misunderstood genius. music, man...

[@andysartain959]

Great video. Wish of have seen it 20 years ago before I had to figure it out myself! I particularly liked the section about the efficacy of two bus compression to spotlight mix issues. So I have a few compressors I've used for mix buss (a Nail, Thermionic Culture mastering plus, Aurora Audio GTC2 are the main culprits) and they perform radically differently. In general I've settled on combining a couple of them either parallel or in series. Parallel is great because of the tonal differences, series is great if you want to use one more heavy handedly than the other. So much fun!

[@Georgie_B_]

Hi Justin, do you have a particular interface + speaker combination you recommend to help spot mix clipping? I keep on missing when stuff is distorting slightly and so I’m only noticing cronch when I listen back on iPhone, so I wanna try a different setup. Would love to know what works for you! Thanks so much! 🙏

[@roikorginal]

thank you so much Justin! what about "coloring" your mix? I am not advanced at all and wanted to ask for your opinion. is it better using something like TAPE \ SATURATOR on each bus ( drums, synth etc) ? or on the mix buss? or even both. cheers :)

[@SonicScoop]

Either or both is OK! A big key to using saturation I think is to push i really hard at first so that you know what it is sounding, and find a saturator that sounds cool for what you are going for even when it's obviously way too much. Then... back way off! Good way to train your ears as well. We have an episode on that here: kzbin.info/www/bejne/iX2Thah_rM6Jhdk Hope that helps! -Justin

[@cmorshouse]

I run a hybrid system and mix through instrument busses to my summing mixers. I come back into Studio One and do bus processing. How much I do depends on the song. The song will generally tell me how much or how little to do.

[@Subeffulgent]

I like to use individual instrument bus processing and then group the instruments and then bus process that group and wait till the final mix is complete and add a compressor and a limiter to the end stage on the master bus for the client to get their approval nine times out of 10 they're expecting it to be as loud as a regular record that's already been mastered that's my approach I avoid the mix bus processing unless I'm doing personal projects for my own self because I really love drum and bass music but the people I work for have other styles of music that they sent me

[@raymondspagnuolo8222]

This amateur uses an SSL bus compressor and more recently a limiter set to - 1.5 dB with 250 ms release to avoid peaks. The -1.5 dB limit is at that level because I understand that conversion to mps-like formats can introduce overs if the limiter ceiling is set to -0.1 dB. But, I am very much the amateur... I don't really understand the physics of it all. But, that's my 2 cents.

[@thehottestbeatz]

I always get confused when engineers say “mix bus processing” or the “two bus” does that simply mean the effects on master bus?

[@davidasher22]

Yea

[@SonicScoop]

“Mix bus” and “master bus” are basically interchangeable terms, yes. Hope that helps, Justin

[@davidasher22]

@@SonicScoop don’t forget “two bus”! 😃

[@shanehen]

I always use “mix buss” because when I master I use “master buss.” I do realize that some mixers call their mix buss a master buss; no big deal as long as they’re not trying to master during their mix. I believe in separating those two processes.

[@maddogtungate6740]

I wish people would stop the grammy award winning artist or engineers stuff for validation. Grammy's don't mean poop these days. I have heard some mixes from grammy winners that sounded like ass. Grammy awards are like the rock n roll hall of fame, absolute garbage.

[@davidasher22]

Tame Impala: Psychedelic Rock??

[@WillyJunior]

...ish

[@bedtimeread]

I'm a simple man, I see a group bus, I load OTT.

[@AppAxis]

Tame impala: Alternative Lofi??

[@Octwavian]

Skrilléx :)

[@crisnla1]

:)

[@flockytheram]

I am a sock puppet!

[@SonicScoop]

How do you type then?

[@flockytheram]

@@SonicScoop with my puppet mouth

[@sergeypetrushev3192]

1/6 of this video is your asking for coffee time, less informative, less beleive. Something bas is happening with you. Hope you will come back with more clear and useful stuff. For now, dislike of course

[@SonicScoop]

What are the other podcasts you listen to like? Are they significantly shorter? Do they not have advertisements in them? Maybe podcasts just aren’t your preferred format? We have a lot of short clips from these episodes too, if you prefer those. -Justin