Thank you for taking time to answer my question!!! It’s one thing to get random forum advice. It’s completely different to get a profession engineer’s advice. Thanks again and please don’t stop doing what you do!!
Could you elaborate a bit on how to set up 2Bus compression for an agressive/over the top sound where the drums are hard hitting and punchy. From some material I've heard I get the feeling that the 2Bus comp might be sidechained to the drums or maybe kick and snare where the rest of the material is possibly ducking/pumping. How much do you usually go by formula vs tweaking by ear/exploratory when setting up the 2Bus comp?
I know there’s a way to do it but haven’t spent the time trying yet. I think it would be really cool if we could post in comments samples of our album and get some feedback from people. Just a thought I now just got!
Thanks for mentioning distrokid! Love this series so much! ... I have another question: when recording straight through an interface with internal mic pres, how would you recommend to "warm up" the tracks after the fact, to get some of that analog tightness/vibe/weight/... into the tracks, itb..? Currently I'm using things like bx refinement, scheps omni channel saturation, preamp emulations, etc. ... for that. Not to forget the wonderful Ferric TDS tape emulation by variety of sound :-)... I feel that mixing in the box can be a wonderful experience, when tracks have already gone through analog gear on the way in, and are nicely smoothed out and a bit saturated that way.. But purely digitally recorded tracks can be a big fight. What are some of your thoughts? Thanks David!
Bro is there a down side to printing the instrumental (2 track) and then doing the final mix to that stereo beat oppose to having it all in one session .
@@davejohnsonmusic I think it's like Warren Huart says he sometimes like to do... "add a bit of boom and fizz", as in a touch of additional low and high.
@@lahattec That's fine, I get it, but I'd rather sculpt a couple specific frequencies in my low end, rather than applying a boost to frequencies that don't need it. But hey, I trust Warren too, so maybe I'll give it a try? Hehe
Thank you for taking time to answer my question!!! It’s one thing to get random forum advice. It’s completely different to get a profession engineer’s advice. Thanks again and please don’t stop doing what you do!!
Love the information on Distrokid my brotha
Could you elaborate a bit on how to set up 2Bus compression for an agressive/over the top sound where the drums are hard hitting and punchy. From some material I've heard I get the feeling that the 2Bus comp might be sidechained to the drums or maybe kick and snare where the rest of the material is possibly ducking/pumping. How much do you usually go by formula vs tweaking by ear/exploratory when setting up the 2Bus comp?
Thanks for all the excellent videos. Quick question: What frequencies do you usually low pass and high pass at when mastering?
Also do you worry about HPF L/R phase issues? (Or does the hardware have a ‘link’ function to keep the cut-off freq exactly the same?)
David, thank you for the video! But you didn't mention at what frequencies do you usually cut with the filters.
@@mixbustv thank you!
I know there’s a way to do it but haven’t spent the time trying yet. I think it would be really cool if we could post in comments samples of our album and get some feedback from people. Just a thought I now just got!
Thanks for mentioning distrokid! Love this series so much!
...
I have another question: when recording straight through an interface with internal mic pres, how would you recommend to "warm up" the tracks after the fact, to get some of that analog tightness/vibe/weight/... into the tracks, itb..? Currently I'm using things like bx refinement, scheps omni channel saturation, preamp emulations, etc. ... for that. Not to forget the wonderful Ferric TDS tape emulation by variety of sound :-)... I feel that mixing in the box can be a wonderful experience, when tracks have already gone through analog gear on the way in, and are nicely smoothed out and a bit saturated that way.. But purely digitally recorded tracks can be a big fight. What are some of your thoughts? Thanks David!
@@mixbustv cool! Thx my man;-D
Bro is there a down side to printing the instrumental (2 track) and then doing the final mix to that stereo beat oppose to having it all in one session .
@@mixbustv thank u !
Hey brother whats the blue thing to the right? Is it reacting to sound? Where did you get that!
MixbusTV you’re the man
At around what frequency might you typically start a low shelf when mastering? Thanks!
@@mixbustv The shelf. I assume HPF would be pretty low.
If you use a low shelf for mastering, isn't that potentially going to muddy things up?
@@davejohnsonmusic I think it's like Warren Huart says he sometimes like to do... "add a bit of boom and fizz", as in a touch of additional
low and high.
@@lahattec That's fine, I get it, but I'd rather sculpt a couple specific frequencies in my low end, rather than applying a boost to frequencies that don't need it. But hey, I trust Warren too, so maybe I'll give it a try? Hehe
@@davejohnsonmusic That's why I am curious at what frequency David might generally be applying a shelf boost.