0:00 welcome to sage audio today we're
0:02 covering how to mix buzz process to get
0:05 the most from your music watch the
0:07 entirety of each chapter for a complete
0:09 understanding of the topic how to eq
0:12 your mix bus before we start covering
0:15 processing your mix bus i want to make
0:17 it clear that the chapters i'm covering
0:18 in this video are in no particular order
0:21 they're not part of a chain but just
0:22 valuable info to help you make more
0:24 informed decisions when mixing if we eq
0:27 our mix bus we have the power to
0:29 drastically alter the sound of our mix
0:32 with that in mind amplify or attenuate
0:34 no more than 3 db personally i enjoy the
0:38 sound of boosting the high frequencies
0:40 with the shelf by about 1 to 2 db
0:43 another idea is to use a mid side eq and
0:46 use a high pass filter on the lows to
0:48 make the low frequencies more mono i
0:51 personally enjoy a 6db per octave slope
0:53 for this cut and will lower the center
0:55 frequency so that the cut just slightly
0:58 affects the low mids let's take a listen
1:00 to an eq on a mix bus
1:04 [Music]
1:20 compressing a mix bus
1:22 like equalization compression can do a
1:25 lot of damage if used excessively on the
1:27 mix bus so be sure to attenuate your
1:29 signal no more than one to two db
1:32 if you just want to control your peaks
1:34 set an attack of 10 milliseconds and
1:37 release of 50 milliseconds to retain
1:39 detail if you want a more cohesive sound
1:42 or what's often called mixed glue use a
1:45 longer release time of about 150 to 250
1:48 milliseconds
1:49 also if it's available use a bus or
1:52 mastering algorithm a little bit of look
1:54 ahead and some over sampling all of
1:57 which will reduce distortion in
1:59 different ways let's take a listen
2:03 [Music]
2:17 [Music]
2:19 if you have a mix that you need mastered
2:21 send it to us to receive a free mastered
2:23 sample of it with the link in the
2:25 description how to saturate a mix bus
2:28 with the saturator we can subtly
2:30 compress our mix and add harmonics the
2:32 compression will typically be soft knee
2:34 and a little slower so it's going to
2:36 glue the sound together a bit the
2:38 harmonics will make the mix sound louder
2:40 and fuller and can vary depending on
2:42 what emulation you choose
2:44 tube and transformer emulation often
2:47 results in a warmer sound due to the
2:49 second order harmonics whereas tape
2:51 affects the mid and high mids a bit more
2:54 again use this effect subtly also if
2:57 it's available i'd recommend using at
2:59 least 2x over sampling let's take a
3:02 listen
3:03 [Music]
3:16 [Music]
3:20 is crosstalk a good idea crosstalk
3:23 occurs when your left and right channels
3:25 bleed into one another causing some of
3:26 the right channels info to be on the
3:28 left and vice versa this results in a
3:31 somewhat blended sound but can also
3:33 widen the stereo image you can use this
3:35 effect subtly that said don't conflate
3:38 or confuse this effect with delay-based
3:40 stereo imaging which delays one of your
3:43 channels to cause expansion in my
3:45 opinion
3:46 delay-based stereo imagers should never
3:48 be used on a mixbus let's take a listen
3:50 to how crosstalk affects the mix
3:54 [Music]
4:11 if you're enjoying the video consider
4:13 hitting the like button it really helps
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4:16 preamp on the mixbus if you want your
4:19 mix to have a vintage sound try preamp
4:21 emulation although these are marketed as
4:24 going on individual channels the
4:26 hardware they emulate was often used for
4:28 mastering back in the 60s and 70s
4:31 they'll mildly distort and shape the
4:33 frequency of your mix i like arturia's
4:36 emulation of the v76 for this but if
4:39 you've found another one that you enjoy
4:41 let me know about it in the comments
4:42 section let's take a listen to this
4:44 preamp
4:46 [Music]
5:03 can i add reverb to a mix bus in short
5:06 yes you can add reverb to your mix bus
5:08 however the effect should be incredibly
5:10 subtle about one to two percent mixed in
5:13 otherwise your mix is going to sound
5:14 washed out i like to emulate a studio
5:16 when i'm doing this since it adds
5:18 cohesion in a way that makes sense more
5:20 times than not i'll avoid adding this
5:22 effect to my mix butts but some
5:24 engineers enjoy adding it in let's take
5:26 a listen to it
5:28 [Music]
5:42 [Music]
5:44 only a small percentage of people that
5:46 watch our videos are subscribed so if
5:48 you're enjoying the video consider
5:49 subscribing it's free and you can always
5:52 change your mind
5:53 meta plug-in on the mixbus if you plan
5:56 on processing your mixbus with effects
5:58 that don't offer over sampling i'd
6:00 recommend trying meta plug-in which lets
6:02 you house all of your effects within the
6:05 plugin and create your signal chain
6:07 accordingly up top we notice that we can
6:09 introduce oversampling to the entire
6:12 chain i'd recommend this if you're using
6:14 a saturation plug-in that doesn't
6:16 include over sampling since this is
6:18 going to be the main cause of unwanted
6:20 aliasing distortion in most cases let's
6:23 take a listen
6:25 [Music]
6:36 [Music]
6:41 if you'd like our custom plugin presets
6:44 audio samples loops download sheets a
6:47 members only badge next to your name and
6:49 comments and more consider joining with
6:52 the link in the description
6:54 subtle golfos
6:56 if i could only add one processor to my
6:58 mixbus i choose the master version of
7:01 the golfoss eq an intelligent eq that
7:03 shapes the signal based on predetermined
7:06 ideal levels for maximum perceivability
7:09 subtle settings like 10 on recover and
7:12 tame can really help a struggling mix
7:15 since the effect can't be replicated
7:17 manually i don't feel too guilty using
7:19 it on a difficult mix let's take a
7:21 listen to it
7:26 [Music]
7:37 [Music]
7:39 if you have a mix that you need mastered
7:41 send it to us to receive a free mastered
7:43 sample of it with the link in the
7:45 description thank you so much for
7:47 watching
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