Your mastering engineer is always happy to help if your mix needs a little bit of extra “glue.” And remember that some styles of music may even sound better with minimal, or no bus compression at all. There’s also no rule that says you need bus compression at all. (Internet forums, random blogs and comments sections of websites generally not usually going to be your best bet for this.) Just make sure you’re copying someone whose mixes you actually like and can relate to. If a certain technique works reliably for someone whose work and mixing style you love, maybe it’ll work for you too. These are actually decent enough places to start. They’ll throw caution to the wind and hammer the bus comp like crazy because they’re convinced that’s what some of the biggest pros are doing, really. They’ll be so cautious that they don’t want to use a bus compressor at all.ģ. They’ll be very cautious, pick up a tip from a favorite veteran mixer, and just go with those settings for years-even if they aren’t sure they’re really hearing what the mix bus compressor is doing.Ģ. The mix bus compressor has a uniquely potent ability to intimidate the bejesus out of new mixers, probably because there seems to be the most at stake: “ Only the sound of your entire mix!! “Īnd so, most new mixers will take one of three approaches when they first start mixing with a bus compressor:ġ.
If you listen to seasoned pros when they’re being honest, most will readily admit that they couldn’t really hear compression in reliable detail-much less use it with easy confidence-until they’d been in the audio game for years. Setting compressors is usually one of the last skills that engineers get truly comfortable with. Check out part 1 on bass management, part 2 on high frequencies, part 3 on bus compression, part 4 on panning for width, part 5 on depth, and part 6 on getting better balances.
MIXBUS PROCESSING SERIES
(This is part 6 of a 6-part series by staff engineer Justin Colletti.
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