What’s On Your Mix Buss?
I get a lot of questions about the mix buss. What do I use? It’s changed a lot since the last video I made forever ago, so I thought, what the hell, why not just show you guys what I use on my mix buss and what I’m doing there, and sort of when I bring things in and out?
I’ve got a track. It’s a demo. It’s like a rock, country kind of thing. I’m still working on it, so don’t judge me too hard, and yeah. I’m going to play it for you, and then I’ll kind of break down what’s going on here on my mix buss.
So here we go.
So here’s my 2buss right here. It says mix buss. It goes below my vocals, and above my print track, and on my auxes and effects down here.
I use four things. I keep it really simple. I don’t overthink it. I don’t really over process. Some people do. I just choose not to, because every time I do that, it just kind of messes me up, but first things first is this Virtual Mix Buss from Slate.
I used the 4k E. It never changes. Everything is a setting always. This is group one, which is grouped down to my sort of in the box summing setup down here, which are also all have these same settings.
So we do that. Drive is on six. It looks like this when the track is playing.
I’ll probably drive the input a little harder. More like around here once I’m more done and the vocals are in.
Next is BAX EQ. It looks like this. It rarely changes.
If I’m doing a Hip Hop or Pop thing and I’ve got a lot of sub content, one of my options to control that stuff would be this filter down here. Around 12 or 18 or 24. Sometimes those will like, just kind of contain the bottom end, but for the most part, it stays on 12. There’s a cut at 70kHz. I’ve got two clicks at 7.5, 7.1kHz and then a click up at 84. Never moves.
Often times, I don’t even open this thing. It just stays there all of the time. I mix into it, in other words.
So console emulation, EQ, then we’re going to go compressor. I use the Vari-Mu. I’ve shot out pretty much every buss compressor plug-in there is. I really like this thing. I feel like it brings a character and just — it’s got a personality to it that I really like on my mixes. I don’t know.
On your stuff, you may like the SSL thing, or there’s a ton of them. Again, the settings rarely change. Mainly just the threshold. It looks like this when it’s going.
I may slow the attack up to like, here-ish. Maybe, and by maybe, I mean hardly never. But that’s about it. If it’s touching this two on the meter, like, I’m scared. I’m usually backing it off. I really don’t do a lot of compression on the 2buss, just because I don’t like the way that it sounds, but that’s that.
Again, like, with these things, some people use API things, some people use Vari-Mus, some people use Fairchild, some people use — there’s a ton of different kind of stereo compressors. I would highly advise just shooting out and demoing a ton. See what you like based on your taste and the kind of music you’re doing.
Next thing is Ozone 7. I use this for two different things. A, the limiter, which I pretty much just keep it on IRC-4, which is the super smart math, transparent. I use the stereo un-link so both sides can kind of move and play as they need to.
Transient emphasis pretty much stays there all of the time. Threshold comes down.
Mixes go out around here. Probably a little hotter. I’ll juice this a little more typically if it’s going out.
Before that, though, I use this imager, and really, the only thing I’m doing is band 2, which is what, 500 to about 3kHz?
And I’m just doing a little bit of stereo width on it.
So I’ll just bypass this.
That’s another thing that doesn’t really move. I’ll bypass it on and off. If I like what it’s doing, I’ll keep it there, if I don’t like what it’s doing, I’ll just turn it off and I won’t give it a second thought.
Sometimes, I’ll move these poles around depending on sort of the arrangement and the instrumentation of the tune I’m working on, but yeah, that’s pretty much it. I really don’t spend a lot of time looking at these plug-ins. I try to keep things simple.
I feel like all of the moves you make up in the track are really going to sort of play a larger impact than whatever you have down here. I mean, this stuff can, it can really mess things up or it can really add some cool stuff to it, but in the end, like, I really feel like the DNA of your mix lies in the tracks, and that’s where most of your focus should be.
But yeah, that’s my 2buss. Again, it’s nothing crazy. I hope this — you know, maybe you got some ideas from this or something. Either way, stay tuned to the channel. I’ve got more stuff on the way. I’ve got a new website we’re working on. A bunch of new stuff, and take care and I’ll see you in the next video. Thanks.