What Mix Bus Compression Is Missing…
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- Опубликовано: 12 июн 2023
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Machine is like a mad scientist for audio. I love that man!
Audio Engineering is ENGINEERING. It is a literal science, just like chemistry or machinery.
doing this kind of crossover splitting can lead to phase issues, just use a compressor with sidechain eq input and roll off the lows on that
I love the way he explains stuff, simplifies it so the small brains like myself can understand
I knew about the „inside / outside“ submix, but making the low-end of the bass dance to the kick was a real eye-opener to me! 😍
Machine is a gift to this Earth.
what i found about mix bus compression is that if you push it too hard, you basically remove any semblance of dynamics between quieter and louder parts, which the "SSL , 30mS attack, Auto Release, 4:1 ratio, aim for -4dB GR" might be working against you for songs that aren't just full blast all the way through.
Can’t lie I saw that fat lamb of god ntm a couple years back and that sent me off into audio, pprrreeciate tf out of everything! Love seeing you guys active
i had tried doing a pre-fader parallel mix-bus send and then HPF, leaving only the sub frequencies, so it would get a similar affect to this, but idk why I didn't account for the fact that the subs are literally still in my mix bus and pinning my mix bus compressor. I'm going to try this inside out thing next mix
I found out what "Over-easy" compression is: A function found on some dynamics processors - most frequently compressors - that gradually changes the function of gain versus level once the signal nears the threshold. In a normal compressor, for example, the signal is unaffected until it reaches the set threshold. When this happens the gain change characteristic goes into effect. If the compressor is set to a 2:1 ratio then the output will now only increase 1 dB for every 2 dB the input rises. With over easy engaged the ratio gradually changes from 1:1 to 2:1 as the signal nears the threshold. In fact, right at the threshold it may only be something like 1.5:1, achieving full 2:1 compression a few dB beyond the threshold. The thinking is that turning the compression on gradually can result in a less audible transition from normal gain into compression, particularly when used at higher ratio settings."
but what are some over-easy plugins besides Silver Comp in Logic? Seems to be found on DBX units
Same a the knee feature basically.
@@stehfreejesseah7893 pretty similar yeah
Yeah it's just called a knee.
@@TheDragonDeacon the more I think about it, the more that makes sense with the visual of a soft knee. thanks
I really love that supercharger compressor on more aggressive vocals. Especially with the punch setting and a bit of saturation
Machine Rules!!!!
But how do you take a portion of something "outside" by using a send? For example during a blastbeat section?
Either splitting your parts onto duplicated tracks and having one track go inside and one outside (delete parts on appropriate channels), or automate pre fader sends and faders
@@racerdeth that is interesting. I guess in Cubase I could set my group tracks to 'no output' and then use the sends to route to the pre-master buses. Im curious what other use cases everyone has tried or Machine discussed that arent mentioned here...
Can somebody explain his setup further here? Is he mixing Left Right center compression? Sidechaining elements and whatnot?
I’m confused, is it just the sub of the bass on the “outside” bus? Would you also do the kick as well? Do I need to buy this session to find out more?
I get the feeling that Machine likes cars, idk why
Can someone just confirm which instruments are being sent where? I get that the sub is going outside and getting sidechained, but nothing else? Or just that's where he'll also send busy double kick parts when necessary?
From what I saw he had guitars, drums and bass going to the inside bus with 2 compressors. He also said you could run vocals to the the inside bus if you wanted. Then he had the sub bass going to the outside bus with a compressor running as a side chain for the kick so every time the kick hits it triggers the sub bass it to duck it. Forgot to add that those 2 busses are sent to the stereo bus. So everything accept the sub bass is directly routed to inside bus and sub bass directly routed to outside bus. The inside bus and outside but are routed to the stereo bus.
Once they’re on the stereo bus, is there any more processing done?
@@DanBires right, ok. I guess it's almost a sidechain high pass, except still with the kick in there
@@mattwhite399 Im sure there is. I saw 3 plugins on the master bus and he didn't have them engaged so my best guess is that is for metering and maybe mastering adding a limiter. If you look at his project he has plugins on every Channel that are not engaged so he was either experimenting because he was already slamming the mix on the inside bus so it could be many things. I wish the video was longer.
What about a side chain filter or multi band Compressor?
At the very end he does both - moves the sub to the outside and sidechains the kick to it. The point is controlling what affects your mix compressor
@@jasonthomas2393 I think he means filtering the side chain of the submix compressor to avoid the sub triggering too much compression
Very cool, Machine is the man
Does anyone know what kind of cans he is using?
look like some kind of Audeze.
@@lukasgraesslingood call. Thank you.
I love that he’s doing this on logic lol
And not protools? Is it 2012 again?
Who is Machine, and what song is this?
Being brief, concise, and precise are important. As much as I get he really knows what he's talking about, it's really hard to decipher from all the unnecessary length. Inside and outside? Of what? Come on, there's better terminology for this.
Can't stand today's drums... They sound too fake...
This song is over 15 years old man. What is considered “today” to you?
"Today"? nah, it's a problem with late 2000s to early 2010s drum tone, not so much anymore as one might not be able to tell between "Real" and Sampled drums after mid 2010s-today.
@@alrecks619 I kinda think people default to saying that someone or something isn’t as good as it used to be as an excuse to validate why them, themselves, haven’t done anything good. Projecting
Those are from ezdrummer so that's why
The over-the-top delivery is completely distracting from whatever it was he was trying to say (no idea what it was - I was completely distracted). Just talk normal, for crying out loud...
That’s his personality homie. He’s in the position he is in because of his charisma and ability to bring the vibe to the studio. Music is 100% about energy and I’d love to have producer like him who seems extremely happy to be there
If you ever watched anything with Machine before, you would know this is just the way he is. Cool as fuck. Why would you have problems listening to someone who is extremely enthusiastic about their craft? If anything, it's inspiring!
I absolutely love the way he explains things
He’s an outgoing dude who loves what he does and the work he puts out. Why on Earth would someone willingly choose a stick-in-the-mud over someone who’s genuinely happy to be teaching?
Yeah he spent like five minutes very enthusiastically explaining how a compressor works lol which is great to know but I’m pretty sure everyone that would seek out this video understands what a compressor does.
He didn’t explain his actual technique very well though, like what “inside” and “outside” refer to. Inside or outside the sidechain maybe? Is he just leaving the kick and snare out of the mix bus so he can sidechain it? I don’t really get what the game-changer is here.