![]() The bus compressor will need special attention. Typically, slower attack times are used for a more natural, subtle sound. Pay special attention to the attack and release times as well. Applying compression on the mix bus helps “glue” all of the tracks together and make them feel like they’re working in sync with one another. Use low ratios (usually around 2:1), and only apply between 1dB and 3dB of compression during the loudest parts of the song. To get your mixes to breathe in time with the tempo of the song, try using subtle compression on the mix bus. ![]() This EQ can also be used to correct minor frequency imbalances, though most adjustments here should be subtle.Ī smiling channel EQ in Logic Pro X Let Your Bus Compressor Breathe This should help bring out the sparkle and “air” in your recordings. Next, boost the top-end (usually above 8kHz) with a high shelf to taste. You may also want to apply a high-pass filter around 20Hz or 40Hz to roll-off the subs. The exact frequency and amount of boosting you do will depend on the track, but typically gain adjustments are kept under 3dB. ![]() Start by boosting the bottom end (usually below 200Hz) with a low shelf. As that old saying goes, make your equalizer smile and the world smiles with you.īy applying a smile-like EQ curve to the mix bus instead of each individual track, you run less risk of frequency build-ups and phase problems that can occur from stacking multiple EQs. To get those powerful lows and brilliant highs that great mixes need, many mixing engineers use an equalizer on the mix bus. If you wait to start until the song's individual tracks are mixed, it will be much harder to maintain the balance you've created.Ī freshly created Aux channel in Apple Logic Pro X Make Your Equalizer Smile By applying processing early, it allows you make mix decisions based on what the end product will sound like. One great approach is to apply your mix bus processing at the beginning of the session, rather than the end. Make sure you’re using mix bus compression, EQ, and other processing to enhance the song, as opposed to correcting problems within the tracks themselves. The key is to do it subtly-too much processing on the mix bus can ruin it. The mix bus allows you to add processing to the song as opposed to the individual channels. If you’re already using busses for other channels (like a drum bus, vocal bus, FX bus, etc.), just route the output of the busses to the mix bus. To make a mix bus, simply create a stereo aux channel and route all of the other channels in your session through it. The first tip to mix bus processing is actually setting up a mix bus. And it all goes down on the mix bus-the stereo output channel you should set up with a few processors. So what’s the secret? How do some engineers make their mixes seem larger than life? The key is shifting your focus from the individual tracks to the whole of the song. Great mixes are controlled, with just the right amount of punch and sustain, are colorful and bursting with character, and have a depth that seems to extend beyond even the speakers themselves. They’re musical, and breathe in time with the tempo of the song. Great mixes are balanced, with a powerful low-end and brilliant highs. ![]() A thin line separates a good mix from a great mix.
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