What Plug-ins do you guys use on your master?

My master is unnaffected by plugins. So I just do whatever she tells me to do.

Are you applying those plugins to your overall mix, individual instruments, vocals, fx, or sends? And could you also specify the DAW you are using, otherwise this makes no sense from an engineer's perspective.
 
I always thought that applying to the main master track was a bad idea? I always mix on the individual tracks rather than the main.
 
thebsofd said:
My master is unnaffected by plugins. So I just do whatever she tells me to do.

Are you applying those plugins to your overall mix, individual instruments, vocals, fx, or sends? And could you also specify the DAW you are using, otherwise this makes no sense from an engineer's perspective.
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i mix it first, then insert them overall to my master on fl studio 10

---------- Post added at 09:19 AM ---------- Previous post was at 08:24 AM ----------
JC_Biffro said:
I always thought that applying to the main master track was a bad idea? I always mix on the individual tracks rather than the main.
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i dont know man i didnt know that
 
My 2buss has the following inserts, in the following order:

1. Slate VCC mixbuss SSL... maybe half the time.
2. HPF... usually
3. The Glue (SSL buss compressor)... almost always
4. Ferric TDS... sometimes, but usually not.

I always mix into Slate and the HPF from the get go. I turn on the compressor once I have a decent rough going and then mix into it from that point on. If I use Ferric I will typically turn it on once I have a very solid mix and then fine tune into it from then on - reason it's so late in the process is because I generally don't know if I'll want to use it until the mix is already listenable.
 
TDR compressor
Khjaerhus MPL Pro limiter

those are the only staples on my master out.

I also occasionally use Stillwell Bombardier bus compressor, NastyVCS, Waves multiband C4, SPL transient designer, and either Stillwell 1973 or SSL 4000 EQ. However.. most of the major decisions are made waaayyyy before the Master out. I like to keep that simple for overall loudness and "punch" enhancement.
 
Yo I get a nice even mix through out...
Then I re mix it.

I throw all the faders down start bringing them up with my speakers cranked too full blast.

Mix at speaking level.

Then after I'm finished.
I export 24 bit 320 wav

then i load it up in fl

make it a sample

match tempo
then i hit normalize...


works for me

excuse

the lines
i'm drunk.
 
chris carter said:
I always mix into Slate and the HPF from the get go. I turn on the compressor once I have a decent rough going and then mix into it from that point on.
Click to expand...

I've been finding it easier to mix with a clean Master Out and then working on the Master Out later. When I get it right.. I usually don't have any adjustments I feel I need to make on the mix pre-Master Out. I know some people do the opposite and start w/ their compressor on the Master Out and then make mixing decisions from there, and it sounds like you do.

Would you care to maybe elaborate on why you decided to do it this way? I'm sure there was a point when you started w/ a clean Master Out... i'm just wondering what your train of thought was when making that switch.
 
It depends on if I want a nice sounding "mix" thats not peaking, or if I need a temporary fix that will stand up next to a master.


Compression, multibands, and a little eqing mainly
 
CPhoenix said:
I've been finding it easier to mix with a clean Master Out and then working on the Master Out later. When I get it right.. I usually don't have any adjustments I feel I need to make on the mix pre-Master Out. I know some people do the opposite and start w/ their compressor on the Master Out and then make mixing decisions from there, and it sounds like you do.

Would you care to maybe elaborate on why you decided to do it this way? I'm sure there was a point when you started w/ a clean Master Out... i'm just wondering what your train of thought was when making that switch.
Click to expand...


The HPF can affect EQ I do in the low end. As some people may remember, I like doing things like taking a Neve EQ or a Pultec and cranking the snot out of 30-ish Hz rather than boosting 60-100 or so just a few dB. The HPF on my 2buss may affect this so I mix into it. The compressor really affects the emotion of the mix. It's not for "loudness". So all of the balancing and eqing I do and how they are 'felt' by the listener will be affected by the compressor. If I just slapped it on at the end, I'd have to rebalance tons of tracks. The reason I wait until I have a rought going to turn it on is because I don't know what kinds of settings I will need until then. So once I have basic level and pan and maybe a little EQ going I will turn the compressor on. The reason I wait until near the end for Ferric is because I REALLY don't know if I'll use it until really close to the end. And generally the way I use it doesn't affect my balance much at all. I might have to tweak just a couple things a tiny amount - no biggie.
 
I'm new to the forum so let me start off by saying that the DAW I use is FL Studio.
On my master channel I use some sort of multiband compressor / frequency exciter (maximus in my case), a parametric eq (parametric eq 2 in my case), a limiter to keep it from peaking and metering for visual representation of peak and RMS levels (wave candy).

I start of with a clean master bus when I produce and mix and add the plugins LAST! And if I need to make changes to my mix after I've added those then they would be minor (usually volume adjustments).

I don't use stereo enhancers on my master bus since it most times causes unwanted phasing when played in mono, and fake widening when played in windows media player with SRS turned on. Instead I just use the stereo separation option either on a submixed bus or on maximus which doesn't enhance the audio but widens the stereo field.

I'm no PRO but that's how I do it.

Jay_
 
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Linear Phase EQ to roll off the lowest of lows.
Some light compression with the Fairchild 670 or the Opto compressor from T-Racks.
 
Aktix said:
It depends on if I want a nice sounding "mix" thats not peaking, or if I need a temporary fix that will stand up next to a master.


Compression, multibands, and a little eqing mainly
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thanks man cool :)

---------- Post added at 11:41 PM ---------- Previous post was at 11:37 PM ----------
dvsjay said:
I'm new to the forum so let me start off by saying that the DAW I use is FL Studio.
On my master channel I use some sort of multiband compressor / frequency exciter (maximus in my case), a parametric eq (parametric eq 2 in my case), a limiter to keep it from peaking and metering for visual representation of peak and RMS levels (wave candy).

I start of with a clean master bus when I produce and mix and add the plugins LAST! And if I need to make changes to my mix after I've added those then they would be minor (usually volume adjustments).

I don't use stereo enhancers on my master bus since it most times causes unwanted phasing when played in mono, and fake widening when played in windows media player with SRS turned on. Instead I just use the stereo separation option either on a submixed bus or on maximus which doesn't enhance the audio but widens the stereo field.

I'm no PRO but that's how I do it.

Jay_
Click to expand...
thanks a lot man! do you know how i can get my whole song to reach exactly 0db? thanks
 
CPhoenix said:
TDR compressor
Khjaerhus MPL Pro limiter

those are the only staples on my master out.

I also occasionally use Stillwell Bombardier bus compressor, NastyVCS, Waves multiband C4, SPL transient designer, and either Stillwell 1973 or SSL 4000 EQ. However.. most of the major decisions are made waaayyyy before the Master out. I like to keep that simple for overall loudness and "punch" enhancement.
Click to expand...
thanks :)
 
NagraBeats said:
thanks a lot man! do you know how i can get my whole song to reach exactly 0db? thanks
Click to expand...

You shouldn't want your mastered audio to sit exactly at 0dB ... it can cause some digital clipping in some older CD players or car stereos .. but to get your signal louder you could use a limiter ... drop your output by about a half decibel to -0.5 dB and then adjust your threshold to what sounds suitable to you.
 
Flux Stereo Tool is very useful to check both phase between soloed tracks and mono compatibility.
A limiter may also be used to secure the speakers and your ears as well.
I never use the Stereo Tool to wider my mix, and the limiter never operates in normal situation.
 
My fave tool on the master bus is a ping pong delay set at ~30ms and -15dB attenuation, feedback mostly off. Not joking :)

A clever guy sells this thing under the name "K-Stereo" for 6k $. Lol, he even managed to patent the ping pong delay (but no doubt he would have no chance in court).

anyway, read the K-Stereo manual try it out!

Get in touch if you want a copy of my old K-Stereo vst, ehmmm.. "Mastering Ping Pong Delay".. :D


Another tool that is almost always connected to my master bus in an accurate parallel compression setup (running a specialized DIY comp).


Finally, I love to use parallel limiting. This is done by "normalizing" both the dry and limited part (i.e. let both peak around 0dB to make the final level 100% predictable) and mixing both to to taste. I use it to transparently relax the "brick-wall" behavior.
 
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