That way they won’t feel disappointed in my mixes if they play them next to something else they like. I want the songs to sound loud, cohesive and glued together like a record while they’re listening to the final mixes. I also do this sort of quick ‘n’ dirty mastering when I bounce final mixes for artists to listen to and give approval. Then, when I’m satisfied with the mix I’ll add my mastering processors, like multi-band compression, Ozone and the like, until I’m satisfied with it sounding like a final master. When I mix a single song for release, I usually do my normal mixing, through a mix bus compressor the entire time. I talk about the top-down and middle-out method inside Step By Step Mixing. a book people have been calling a “mind-opening book on mixing.” I’ve actually flip-flopped a bit on this issue because I tend to do a lot of processing on the mix bus while mixing. Leave that processing up to the mastering engineer.” “Don’t leave your Ozone mastering plug-ins and buss compressors on the master bus when you bounce your mix down to a stereo track. Gordon’s question is in response to a previous article about making things ready for mastering, where I say, Or have I got the wrong end of the stick? I’m hoping you can clarify this for me?” It surely doesn’t make sense to do this and then remove the master bus compressor before mastering, whether you’re mastering yourself or not. “You state that you should clear your master bus of any bus compressors before mastering – but.you…advise that we should ‘mix’ into the master bus compressor as early as possible when mixing and this is what I’ve been trying to do. If it were being added post mix for finalisation, that makes sense, but to mix into a preset EQ is the same as to not have it there, but more destructive.Got this question about mix bus compression from a justifiably confused reader: I`m not suggesting it doesn`t work for you, I`m saying it`s generally bad advice for people to mix in to a pre-set EQ, apart from what it is doing to the sound and the potential problems, if it is there from the get go, you are undercompensating for what it adds, at the channel level, so by taking it away and mixing without it, you will get the same results WITHOUT the addition of phase distortion to every single sound in the mix. If you didn`t use some of this corrective stuff, you would be doing it more cleanly on the channel level AND, more importantly, not every single sound would be boosted in exactly the same area getting exactly the same phase distortion (leading to potential resonance issues and the need for accel limiting at the master). You are just compensating for the mix tho. Now I have up to 8 plugins, 5 of which are permanently engaged, all with light settings. However ! Plugins have gotten so dame good over the last decade that whereas 10-15 years ago I'd have nothing on my master but a limiter, now I have up to 8 plugins, 5 of which are permanently engaged, all with light settings. Generally I agree with "the less amount of processing the better" as every stage / plugin / process degrades the sound obvs. Note this is not to "fix" some problematic mix, maybe the original post was about that. Generally mixing into a chain works wonders for electronic music imo. Also at the end of the day we're taking about electronic music and techno here, often breaking the rules can and does sound good. Obvs we're not talking about some over fried shit mix you might get in for mastering, that's been processed to death. I would always be adding it at the end anyhow, so I'm just doing the other way round. 99% of mixes benefit from air band, and a bump in the subs at 61-62hz. But to set an EQ curve and then mix into it.
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