Something about mixing I found out from a Reputable Studio.

[nonreversebird]

I was told to use as little compression as possible in your mix, pre master. I guess it is kinda obvious that the ME is going to need to compress your mix some in the mastering stage and if you have already done so during recording and mixdown you might not get what you want out. I personally dont like the scooped super compressed sound that a HUGE number of modern heavy bands use. You cant even hear any high frequencys in the guitar. That is essentially why I recorded my rythmn guitars all dry and pretty much flat. So later it could be EQed. I wasnt able to do it and thats when I found out about Mastering and thats what its purpose really was.

Anyway take it for what its worth dont use compression to much in your mixdowns.

Now that should get a friggin rep point.

[Blue Bear Sound]

Sorry - that isn't exactly news.............

The pros here have been preaching that for a long while -- no compression is better than overdone or bad compression at any time. And if a project is going to be sent for mastering, then you should do as little as possible to the final mix. An ME has far better gear/skills to do it properly...

No rep point for you! (but I did give one to Lynn)

[foreverain4]

Originally Posted by nonreversebird

I was told to use as little compression as possible in your mix, pre master. I guess it is kinda obvious that the ME is going to need to compress your mix some in the mastering stage and if you have already done so during recording and mixdown you might not get what you want out. I personally dont like the scooped super compressed sound that a HUGE number of modern heavy bands use. You cant even hear any high frequencys in the guitar. That is essentially why I recorded my rythmn guitars all dry and pretty much flat. So later it could be EQed. I wasnt able to do it and thats when I found out about Mastering and thats what its purpose really was.

Anyway take it for what its worth dont use compression to much in your mixdowns.

Now that should get a friggin rep point.

uhhh, no....

[Atterion]

I felt bad for you...Geeez!!!!!!

[chessrock]

Originally Posted by nonreversebird

Now that should get a friggin rep point.

What? For telling everyone not to process final mixes before sending off to get mastered?

Hey man ... Did you hear the Titanic hit an iceberg and sunk?

I should get 2 rep points for that one.

Here's another one: Kennedy was assasinated!

Hell, I should get at least 3 for breaking that story. I'm on a roll.

[Carter]

flmao...............

[giraffe]

oh chill people, it's apperantly news to him
i'm sure you wern't born rulers of the known universe eithor

[Blue Bear Sound]

Originally Posted by giraffe

i'm sure you wern't born rulers of the known universe eithor

Well, actually - as a matter of fact............


Besides - even if it is news to him, it's not worth a rep point!

[chessrock]

Originally Posted by giraffe

oh chill people, it's apperantly news to him
i'm sure you wern't born rulers of the known universe eithor

LMFAO

Hey, it was all fine until he got all smart and declared that he "deserves friggin rep points."

If you're going to go around demanding rep points, then you better be able to back it up.

[giraffe]

ok, i'm with you on the point thing

[masteringhouse]

Originally Posted by chessrock

.

Here's another one: Kennedy was assasinated!

When the hell did that happen???!!!

I must be in the studio too much ....

[Raw-Tracks]

Originally Posted by nonreversebird

I was told to use as little compression as possible in your mix, pre master. I guess it is kinda obvious that the ME is going to need to compress your mix some in the mastering stage and if you have already done so during recording and mixdown you might not get what you want out.

This is both right and wrong. If I want my lead vocal to be compressed a bit so I can get it to punch through the mix, I need to do that myself in the mixing stage. No mastering engineer can compress my lead vocal on the final 2 mix, he can only compress the entire mix, and he will not be able to achieve the same result as compressing the vocal when mixing.

Now, if you're talking about laying off the 2 mix compression when printing your final mix, then you have a point. There is no reason for me to get carried away with a lot of compression on the final 2 mix. The mastering engineer can do that job a lot better than I can.

[masteringhouse]

Originally Posted by Raw-Tracks

This is both right and wrong. If I want my lead vocal to be compressed a bit so I can get it to punch through the mix, I need to do that myself in the mixing stage. No mastering engineer can compress my lead vocal on the final 2 mix, he can only compress the entire mix, and he will not be able to achieve the same result as compressing the vocal when mixing.

Now, if you're talking about laying off the 2 mix compression when printing your final mix, then you have a point. There is no reason for me to get carried away with a lot of compression on the final 2 mix. The mastering engineer can do that job a lot better than I can.

I just gave you a rep point for that.

[masteringhouse]

Tried giving rock 3 points, but the system only allows one per person.

Tried giving one to Bear but got the message:

You must spread some Reputation around before giving it to Blue Bear Sound again.

What's up with that?

[Blue Bear Sound]

Originally Posted by masteringhouse

Tried giving rock 3 points, but the system only allows one per person.

Tried giving one to Bear but got the message:

You must spread some Reputation around before giving it to Blue Bear Sound again.

What's up with that?

Apparently, there's a daily rep quota/limit..... I was able to give you some, though!

[Massive Master]

Got Rock for you - Got Bear for you until you spread some around. Got you just for being generous.

[masteringhouse]

And one for you John!

[bblackwood]

Originally Posted by Raw-Tracks

Now, if you're talking about laying off the 2 mix compression when printing your final mix, then you have a point. There is no reason for me to get carried away with a lot of compression on the final 2 mix. The mastering engineer can do that job a lot better than I can.

Why, so the mastering engineer can remix your record?

If the track needs buss comp and you can nail it, it's much better to do it in the mix. Strapping a compressor across the buss changes the balances of your mix, period - if it's done while mixing, at least you can hear what it's doing and ride faders, adjust sends, etc to insure the mix sounds like you want it to. It's not brain surgery, do what sounds good, but avoid doing anything for the sake of loudness.

Despite what some would have you believe, we mastering engineers are not the final arbiter of what the mix should sound like - we're hired to take the mix (that sounds like the artist wants it to) and make it shine in the manner the artist intends.

[masteringhouse]

Brad sounds like he had a hard day's work today, a shot (rep point) for him.

Giraffe and Carter are looking a little thirsty at the end of the bar, anybody wanna buy a round for them?

[SouthSIDE Glen]

Originally Posted by masteringhouse

When the hell did that happen???!!!

I must be in the studio too much ....

I think they're referring to John F., not Jamie. Damn....

[Raw-Tracks]

Originally Posted by bblackwood

If the track needs buss comp and you can nail it, it's much better to do it in the mix. Strapping a compressor across the buss changes the balances of your mix, period - if it's done while mixing, at least you can hear what it's doing and ride faders, adjust sends, etc to insure the mix sounds like you want it to. It's not brain surgery, do what sounds good, but avoid doing anything for the sake of loudness.

Brad, I agree with you 100%. I usually do put a compressor across my 2-mixes for the exact reason you state above.

Originally Posted by Raw-Tracks

Now, if you're talking about laying off the 2 mix compression when printing your final mix, then you have a point. There is no reason for me to get carried away with a lot of compression on the final 2 mix. The mastering engineer can do that job a lot better than I can.

My above statement was my attempt to say what you referred to when you said:
"...but avoid doing anything for the sake of loudness.:

I do believe we are on the same page here.

[masteringhouse]

I have heard some pro mixers complain that doing this way creates a situation where you are "mixing to the compressor". It can be a big surprise as to what your mix sounds like after mixing this way for a while in a session and then removing it. You may find that certain tracks are driving the compressor in a way that that is affecting the mix in a negative way.

As a general rule of thumb I was taught to use very slight limiting on a bus comp (high threshold level 10:1 ratio) and make sure that it only hits the occasion peaks.

Anything can be overdone.

Originally Posted by bblackwood

Despite what some would have you believe, we mastering engineers are not the final arbiter of what the mix should sound like - we're hired to take the mix (that sounds like the artist wants it to) and make it shine in the manner the artist intends.

Absofreakinlutely!

[Blue Bear Sound]

Originally Posted by bblackwood

Why, so the mastering engineer can remix your record?

If the track needs buss comp and you can nail it, it's much better to do it in the mix. Strapping a compressor across the buss changes the balances of your mix, period - if it's done while mixing, at least you can hear what it's doing and ride faders, adjust sends, etc to insure the mix sounds like you want it to. It's not brain surgery, do what sounds good, but avoid doing anything for the sake of loudness.

Despite what some would have you believe, we mastering engineers are not the final arbiter of what the mix should sound like - we're hired to take the mix (that sounds like the artist wants it to) and make it shine in the manner the artist intends.

That's quite true, assuming a professional/experienced mixing engineer.... but for a mix by with a novice with only a 3630 to strap across the buss, well, you get the idea.... better off in the hands of the ME!

[Raw-Tracks]

Originally Posted by masteringhouse

I have heard some pro mixers complain that doing this way creates a situation where you are "mixing to the compressor". It can be a big surprise as to what your mix sounds like after mixing this way for a while in a session and then removing it. You may find that certain tracks are driving the compressor in a way that that is affecting the mix in a negative way.

It depends on WHEN in your mixing process you put the compressor across the bus. If you do it early on, you will certainly run the risk of mixing to the compressor. However, if you get your mix the way you want it, then insert the 2 mix compressor to really put the final glue on the mix, you shouldn't have so much of a problem. You will usually find that after inserting the compressor that you have to make some little tweaks to counteract what the compressor is doing. By then, you'll know what you want the final mix to be.

[masteringhouse]

Originally Posted by Raw-Tracks

It depends on WHEN in your mixing process you put the compressor across the bus. If you do it early on, you will certainly run the risk of mixing to the compressor. However, if you get your mix the way you want it, then insert the 2 mix compressor to really put the final glue on the mix, you shouldn't have so much of a problem. You will usually find that after inserting the compressor that you have to make some little tweaks to counteract what the compressor is doing. By then, you'll know what you want the final mix to be.

Good point, also turning the bus comp on and off during the mixing process helps to gauge it's effect. Just a note for folks who may be starting out with using a comp this way.

I'm going to give you a rep point for that!