Most advanced EQ’s mentioned before have a mid/side mode, but here are a few options anyway:įabFilter Pro-Q 3 is a super versatile EQ that I’d highly recommend for mix bus processing, as it’s capable of both standard EQ and mid/side EQ.Ĭan’t afford the paid options? Check out these free VST plugins. It allows you to shape the stereo image exactly as you want it, and it can be great for helping mixes breathe. Pultec EQ), the above options are far more flexible. Try and go for a digital parametric EQ here.
I primarily use FabFilter Pro-Q 3, but here is a more comprehensive list of options: When used carefully on your mix bus, it can help your mix sing. You want something that shapes the dynamics effectively, and each will leave a sonic imprint on your mix.ĮQ is one of the most powerful mixing tools in general. Picking a good compressor is paramount when processing your mix bus. Here are a few suggestions for plugins you can use on your mix bus: A compressor Recommended: Mixing For Producers The Gear You’ll Need: A Compressor, Parametric EQ & Mid/Side EQ Improve your mix to begin with, don’t rely on mix bus processing alone. Mix bus processing addresses the overall make-up of the mix – if you’re trying to fix finite details on the mix bus, you will end up doing so at a compromise for adjoining elements within the mix. If you’re seeking to correct your mix on a micro-level, you should address that element independently of the mix bus. Honesty, communication and understanding are the best policies when mixing a record – both with yourself and any other parties involved if you’re working with a team. Make notes of why you may like one over the other, and let that be known to other people you show if you’re seeking feedback. If you’re unsure if it’s helping the mix, or if it will tie the mastering process down, print two versions one with and one without. Ahead of mastering, you want your best presentation of the mix – one that you’re proud of and that you can honestly say represents the music in its best light, so if you need to use a mix bus to do that, so be it.Īs the saying goes, if it sounds good, it sounds good.
If it helps you tell the story of the mix better, I’m all for it being left on.
Here’s my take – the mix bus is a channel of audio in your mixing session, therefore the freedom to process it improving the connection and overall sound of your mix is fair game. People who mix into a processing chain often see it as part of the their style as a mixing engineer, imprinting a sonic character that sounds like ‘them’.Īs a mastering engineer who works with the two-track (stereo mix) supplied, I’m often asked what my thoughts on mix bus processing are – questions like whether or not engineers and producers should leave that processing on or off ahead of mastering.
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