Mix Bus

Tape Notes Podcast

Building tension with effects automation on the mix bus

Jack Antonoff demonstrates how to create excitement and build tension using delay and modulation effects automation directly on the mix bus. He employs Soundtoys EchoBoy for delay and Soundtoys Tremolator for tremolo, showcasing how these effects can transform a section to feel entirely different. By applying these effects to the master, Antonoff can quickly shift the sonic landscape without getting into the minutiae of individual tracks. This approach allows for dramatic changes, such as making a bridge feel distinct or adding a pulsing movement to a section, enhancing the overall dynamics and interest of the track.

Streaky

Tight and lively low-end with multi-band compression and expansion

Streaky refines the low end of a mix by using a multi-band compressor and expander, such as the FabFilter Pro-MB. The idea is to divide the low frequencies into two specific bands, one with compression, and one with expansion. The compression band is set to below 115 Hz and aims to tighten and control the sub frequencies. The expander band is side-chained from the sub band and enhances the upper bass range from 115 Hz to 350 Hz. So whenever the sub frequencies are reduced, this band adds punch back in. The combination of the bands contributes to a lively, moving low-end that is clear and controlled.

SonicScoop

Mixing top-down into compression, saturation and EQ

Catherine Marks shares her preferred mix bus chain, emphasizing a top-down approach by setting up her mix bus processing early in the mixing process. This method allows her to efficiently glue the mix together from the start. Her chain includes the Thermionic Culture Fat Bustard as a summing mixer and for initial EQ boosts, followed by the Dramastic Audio Obsidian compressor, the Manley Massive Passive EQ, and finally the Inward Connections Vac Rac TEQ-1. Marks highlights the importance of consistency in her settings, particularly on the Massive Passive, to maintain a stable tonal balance. She employs multiple stages of EQ to shape the mix, with notable boosts at 10kHz and 50Hz on the Fat Bustard, and additional adjustments on the Vac Rac and Massive Passive. The Obsidian compressor is set with a classic SSL-style slow attack and fast release.

Produce Like A Pro

Combining hard clipping with limiting for clean loudness

Marc Daniel Nelson demonstrates how to achieve clean loudness by combining hard clipping with limiting. He uses the SIR StandardCLIP to distort signal peaks before they reach the FabFilter Pro-L 2 limiter, allowing the limiter to work less aggressively and maintain transparency. By monitoring the limiter's effect on the mix, Nelson identifies areas where distortion occurs and adjusts the clipper to handle these peaks. This multi-stage processing approach helps retain the punch and clarity of transients, particularly in the snare and kick, while achieving higher loudness levels. The limiter breathes more easily, resulting in reduced artifacts. The monitoring of limiting artifacts is a built-in feature of the FabFilter Pro-L 2, but it can also be achieved by listening to the limited and unlimited mix simultaneously, with levels matched for loudness and phase flipped on one of the two.

SonicScoop

Lift the chorus with volume automation

Mick Guzauski demonstrates how to lift the chorus in a mix using volume automation on the mix bus. By slightly increasing the volume—about 1 to 1.5 dB—just before and during the chorus, he creates a subtle yet effective dynamic lift that enhances the impact of the section. This approach is a simple yet powerful way to add excitement and emphasis to key moments in a song, ensuring the chorus captures the listener's attention.

Puremix

Add energy and glue with tape saturation

Darrell Thorp explains his use of tape saturation on the mix bus to enhance the track's energy and cohesiveness. He specifically uses the UAD Ampex ATR-102 emulation, favoring the GP9 tape type, +6 biasing, and 1/2" tape width. Thorp contrasts 15ips and 30ips tape speeds, opting for 30ips on this track for its tighter response and better handling of transients, as opposed to 15ips which adds warmth and low-end, already sufficient in this mix.

Universal Audio

Add cohesion with tape saturation

Thorp shares his use of the UAD ATR-102 plugin for adding tape saturation to his mixes, appreciating its ability to subtly enhance the warmth, depth, and cohesiveness of the sound. He contrasts different tape formulas and speeds for their impact on different mixes and genres. For this song he picked the GP9 1/2" tape, which is his all-around go-to, at 30ips speed.

Universal Audio

Use dual mono compression for a wider stereo image

Thorp discusses the benefit of running his mix bus compressor in dual mono mode instead of stereo link mode. This technique allows independent compression of the left and right channels, enhancing stereo imaging by preventing one side's dynamics from affecting the other. However, he cautions about the need for precise setting matching to avoid imbalances.

Universal Audio

Glue a mix together with tape

Vance Powell uses the UAD Ampex® ATR-102 tape saturation to glue a rock mix together on the mix bus. He prefers using the 250 tape formula, running at 15 inches per second with CCIR calibration on half-inch tape, which he finds essential for achieving a classic rock sound. Powell highlights that while the effect is subtle, it adds the perfect amount of sparkle and energy to the low end, enhancing the overall cohesiveness and warmth of the mix.

Universal Audio

Add clarity with EQ

To enhance the clarity and excitement of the mix, Thorp adds a subtle EQ boost at 21kHz using the UAD Millennia NSEQ-2. This high-frequency shelf adds air and brightness, making instruments more detailed and lively without introducing harshness. Thorp credits this technique to a mastering engineer's advice, highlighting its effectiveness in finalizing the tonal balance.

Mix with the Masters

Use multi-bus compression to get a more exciting and open sounding mix

Brauer shows how his trademark ABCD multi-bus compression setup helps him to get a more excited and open mix by comparing it to a regular stereo bus setup.

Mix with the Masters

Open up the mix bus with analog EQ

Open up the mix bus by passing it through the circuitry of an analog EQ. The harmonic characteristics of the EQ add depth and character to the mix.

Mix with the Masters

Taming the mix bus with compression while keeping it dynamic

Brauer is taming the mix bus with two compressors in series, each doing relatively litte to keep the dynamics of the track.

Manley Vari Mu on the mix bus

Tom Elmhirst uses the Manley Vari Mu compressor on the mix bus to add warmth and cohesion to his mixes. He emphasizes the importance of attack and release settings, typically opting for a medium to fast release to maintain transient clarity, especially in contemporary, drum-heavy music. He advises against relying solely on the meters, suggesting that listening is key to understanding the compressor's effect. The Manley Vari Mu has been a staple in his workflow for two decades.

Universal Audio

Use gentle compression to add cohesion

Thorp explains his approach to two-bus compression, emphasizing gentle, minimal compression to lightly squeeze the mix. He uses a medium fast attack and release, aiming for barely a dB of compression, to retain dynamics while achieving a cohesive sound. His preference for UAD plugins like Shadow Hills and API 2500 for mixbus compression is noted for their effectiveness in different scenarios.

Universal Audio

Bigger, more open mix bus with EQ

Joe Chiccarelli uses the UAD Chandler Limited Curve Bender EQ on the mix bus to achieve a bigger and more open sound. By making subtle adjustments—just one click on the low end and one click on the high end—he enhances the overall mix without overwhelming it. For Chiccarelli, this EQ setting serves as the perfect finishing tool, adding the final polish to the mix and ensuring it sounds expansive and clear.

Universal Audio

Get a tighter, bigger low-end with EQ post-compression

Thorp discusses his approach to refining the mix bus's EQ by adding a bit of low-end around 100 Hz for warmth and size, particularly enhancing the kick and the bass. He also likes to cut a small amount of 250 Hz to clean up low-mid mud. He points out the importance of applying the low-end boost after the compression stage, which in his experience results in a tighter, more controlled bottom end.

SonicScoop

Add excitement with EQ, parallel compression and limiting

Mick Guzauski enhances his mix bus with a combination of EQ, parallel compression, and limiting to add excitement and punch to pop and funk tracks. He starts with the UAD Millennia NSEQ-2 and Sonnox Oxford EQ to open up the top end and add presence, creating a more exciting and airy mix. Next, Guzauski employs the Elysia Alpha Compressor for parallel compression, blending the compressed signal at a 50% mix to add punch without losing the dynamics of the original track. Finally, he uses the FabFilter Pro-L 2 limiter to take off peaks and increase loudness, ensuring the mix is competitive and matches the client's reference levels.

Universal Audio

Bigger low-end with sidechain filtering

Joe Chiccarelli uses the UAD Shadow Hills Mastering Compressor on the mix bus to achieve a bigger and more natural low-end for a hip-hop track. He employs a fast release and slow attack with a 3:1 ratio, applying just 1-2 dB of compression to glue the mix together without making it sound overly processed. Chiccarelli opts for the nickel transformer setting to add sparkle and life to the mix. A key feature he highlights is the sidechain filter, which prevents the low-end from triggering too much compression, avoiding unwanted pumping and breathing effects. This technique ensures the low-end remains powerful and natural.

Universal Audio

Apply limiting to create a louder pre-master for the client

Thorp discusses his approach to using limiting on the mix bus to achieve a louder pre-master, tailored for client presentations. This step is essential for providing clients with a representation of what the final mastered track could sound like, factoring in the loudness typically achieved in the mastering stage. Thorp emphasizes the importance of using limiting judiciously, aiming for a balance that enhances the track's perceived loudness and impact without sacrificing dynamic range unnecessarily.