It looks like you're new here. If you want to get involved, click one of these buttons!
Subscribe to our Patreon, and get image uploads with no ads on the site!
Base theme by DesignModo & ported to Powered by Vanilla by Chris Ireland, modified by the "theFB" team.
Comments
When I’m mixing I do a split approach - instrument bus and vocal bus, which then goes to my master bus.
I’m gain staging so that my master bus is hit at -6db when my mix is hitting my instrument compression bus to my liking and the vocals are balanced in nicely. I then have the option of a mastering chain where I can bring up the level into a limiter if it’s something I want to get loud myself. But personally I don’t export MP3s louder than -1db on a limiter.
Personally I am of the school of thought that thinks it is less of an issue than some people, esp in the audiophile communities, seem to think it is.
I've not mixed anything without having something on the master bus in a very long time but the goal is fatness and weight, rather than loud.
Often there are two compressors on the master bus, something like a Crane Song STC8 and an SSL G Bus.
In addition to something like an API2500 across the drum bus.
But these are tonal treatments as much as levelling tasks.
They are also on the bus from the start of the mixing session- they aren't on during tracking because of latency issues- I'm using hardware compressors on insert and it messes with LLM.
But I give the mastering engineer room to work- 3db ish, or more.
If I am doing something that is not for commercial release then I might strap a limiter across the bus and set it to -0.5db but the aim is to keep a bit away from that, it is a safety net, not a target.
If it hits then I've fucked something up along the way and it allows me to see that to go and fix it, rather than just letting it go.
If the OP wants things to be LOUD LOUD LOUD then that is a bit of a different question.
I try to concentrate on things sounding balanced and enjoyable, rather than it trying to be the loudest thing possible.
Studio: https://www.voltperoctave.com
Music: https://www.euclideancircuits.com
Me: https://www.jamesrichmond.com
https://www.studiowear.co.uk/ -
https://twitter.com/spark240
Facebook - m.me/studiowear.co.uk
Reddit r/newmusicreview
So much wisdom in one small comment
So many meters are seen as targets, I am as guilty as the next
WTF is going on with this one song?
24 bit render sounds fine, identical to the mix. I am, I would say, pretty anal about gain structure throughout the recording/mixing process, I just don't understand why this one particular song is being so problematic.
Im not doing stuff that has to go for external mastering, in that case i would be aiming for more like -10--- -12 to allow the mastering engineer to do his black magic.
YMMV
cheers guys
andy k
The API has a very different feel to the SSL or the Crane Song- much more forward sounding- super punchy and clear.
I mostly use that in series with the Crane Song now- the STC I can hardly hear working, even at pretty ridiculous gain reduction- something like 12db.
Sometimes I parallel compress with the API and then level the whole mix with the STC.
Studio: https://www.voltperoctave.com
Music: https://www.euclideancircuits.com
Me: https://www.jamesrichmond.com