# What's on your Master Bus ?



## Emmanuel Rousseau (Oct 3, 2018)

Hi everyone,

Every mix is different, and there is no special recipe that works on every source. But I guess we all have our little habits  So what are the plugins that almost always make it to your Master Bus ?

Lately, these has been my usual suspects :






*2CAudio Breeze2* : Absolutely love this Reverb, and I find it perfect on orchestral tracks as a final "glue". The Halls & Chamber algos are truely fantastic.








*A1Audio StereoControl* : Great, free little plugin I'm using to mono the bass frequencies.








*Tone Empire Goliath : *I have to keep experimenting with this one, bought it a few weeks ago on sale at PluginBoutique. The saturation modes are gorgeous, and the Envelope Section is where you can make things really interesting. Had a crush on this one !








*Slate Digital Virtual Mix Rack* : These 3 EQ Modules are gorgeous for adding top end, and there is always one doing exactly what I want 








*A.O.M. Invisible Limiter G2* : Pure witchcraft. I can't recommend this limiter enough.
Recently made some tests with a producer friend, comparing it to Slate FG-X, PSP Xenon, FabFilter Pro-L, and the maximizer from Ozone 8 Elements. The A.O.M. was our favourite, and Pro-L a very close second.


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## ghandizilla (Oct 3, 2018)

Make your bass frequencies mono -> excellent advice, thanks! Very easy to implement with Pro-Q mid-side capacity, never thought of it.

Not so much on my master:
- FabFilter Pro-L, very gentle
- SlickHDR to make the sound more detailed
- Sometimes a bit of Pro-C, sometimes not, it depends on how I can keep my dynamics natural (to put it roughly: I never compress concert music, I always compress media music)

That's it. All EQ, MB, distorsion stuff happens on the busses. Glue-verb is on a dedicated FX channel where all busses send a defined amount, but definitely a +1 for the choice of an _algorithmic _reverb (VSS3 and VSR24 are also great, I don't own Breeze so I don't know how it differs).


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## robgb (Oct 3, 2018)

*Schep's Omni* - Amazing Channel strip (best plugin I've ever bought)
*ReaXcomp* - Amazing Multi-band Compressor (available to anyone, not just Reaper users)
*LoudMax* while mixing
EQ to flatten headphones (used demo of Sonarworks and matched the EQ)


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## Emmanuel Rousseau (Oct 3, 2018)

ghandizilla said:


> Make your bass frequencies mono -> excellent advice, thanks! Very easy to implement with Pro-Q mid-side capacity, never thought of it.
> 
> Not so much on my master:
> - FabFilter Pro-L, very gentle
> ...



Didn't know about SlickHDR, will have a look, thanks !

Just be careful with Pro-Q's MS mode, I might be wrong but I think it's not the same thing ! With a tool like StereoControl, you're "just" collapsing to mono, but with a MS eq, you would effectively remove bass (in fact every low frequency that's not on the Mid Channel). To be confirmed, though.


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## ghandizilla (Oct 3, 2018)

whitewasteland said:


> Just be careful with Pro-Q's MS mode, I might be wrong but I think it's not the same thing ! With a tool like StereoControl, you're "just" collapsing to mono, but with a MS eq, you would effectively remove bass (in fact every low frequency that's not on the Mid Channel). To be confirmed, though.



Hey, you're right! Using MS mode in a high pass curve actually removes all sound information from the sides, so to keep the sound as rich as possible StereoControl would be better, you're right. Since it's free, there is no reason to hesitate. Thanks!


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## Emmanuel Rousseau (Oct 3, 2018)

robgb said:


> *Schep's Omni* - Amazing Channel strip (best plugin I've ever bought)
> *ReaXcomp* - Amazing Multi-band Compressor (available to anyone, not just Reaper users)
> *LoudMax* while mixing
> EQ to flatten headphones (used demo of Sonarworks and matched the EQ)



Scheps Omni looks like a great channel strip. I'm in a difficult position here, as I love Andrew Scheps, but had a very bad experience with Waves.  But it looks like it's one of their best plugins to date.

Never tried LoudMax, I know it's a clone of the Waves L1. Another free limiter I would recommend is the Limiter n°6, by Vladg/sound.

https://vladgsound.wordpress.com/plugins/limiter6/


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## jmauz (Oct 3, 2018)

Fabfilter Pro-Q
SSL G-series Master Bus Compressor
Fabfilter Saturn
Pro-L
L2

Always trying out different things but when I don't have time for tomfoolery this is what's on my template.


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## ghandizilla (Oct 3, 2018)

jmauz said:


> Fabfilter Saturn



Out of curiosity: how do you use Saturn on the master bus? (I use it mainly on my strings bus.)


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## DS_Joost (Oct 3, 2018)

robgb said:


> *Schep's Omni* - Amazing Channel strip (best plugin I've ever bought)
> *ReaXcomp* - Amazing Multi-band Compressor (available to anyone, not just Reaper users)
> *LoudMax* while mixing
> EQ to flatten headphones (used demo of Sonarworks and matched the EQ)



Scheps Omni Channel is fantastic! I bought it because of your recommendation on a sale and I couldn't be happier! I don't use it on the master bus though; but I do use it on everything else! I have a channel strip macro in Studio One that with a push of a button adds a VU Meter, Mixtool, Pro EQ with low/highpass filter AND the Scheps Omni Channel after that. I am in love with it, everything on it sounds so nice and thick!


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## Wally Garten (Oct 3, 2018)

Just a limiter, usually, though I like this idea of using a bass-to-mono plug on the master....


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## R. Soul (Oct 3, 2018)

jmauz said:


> Fabfilter Pro-Q
> SSL G-series Master Bus Compressor
> Fabfilter Saturn
> Pro-L
> ...


That's quite similar to mine. 
I might use Pro-Q2 if need to eq. 
Saturn and Pro-L is always there.
I also use Gclip very gently - around 1 dB.


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## Nicholas B (Oct 3, 2018)

A Designs EM-EQ2
Portico 2 Master Buss
Portico 5042
Pro-L


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## sostenuto (Oct 3, 2018)

Plugin Alliance; often. Many of their 'Mastering' VST from super sales 
NI_K11U FX too.


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## wst3 (Oct 3, 2018)

I used to actively avoid pre-populating the 2-mix buss, but in my never ending attempt to streamline my work I am experimenting with just that. So far I've settled on a few:
- Brainworks bx_control - manage the stereo image
- I really want either a multi-band compressor or a dynamic EQ in the next slot, but my favorite is an very old (still x86) Izotope plugin that I need to replace. I've been playing around with Brainworks DynEQ, Lindell Audio 354E, and the UA Precision Multiband compressor.
- I love the Maag Audio EQ4, pretty much only use the "Air Band", but sometimes I use others.
- For some really gentle compression (which I try to avoid at mix time, but sometimes the multiband won't do it) I use the Millenia TCL.
- I've also avoided using reverb in the 2-mix, but lately I've added a couple and I'm experimenting. Right now it is between Exponential Audio, Liquidsonics and 2C-Audio, but the new Eventide 2016 could land there too. I really like the UA Oceanway Room too, but I tend to use that on tracks, and one can have too much of a good thing.
- for that little extra touch I have the SPL Vitalizer, but I'm not real happy with it on orchestral tracks. Need to do some more hunting. Recently I tried Soundtoys Radiator, but that was difficult to control, it went over the top quite quickly.
- the last step is always a limiter, and for the last couple hundred years it has been Waves L something or other<G>! I know how to get it to disappear, and I'm too lazy to learn a new one<G>!

Other then the Wave L the order can change depending on what I'm hearing. Usually bx_control is first, and usually a reverb is near last. The Vitalizer and EQ4 can land anywhere.

And while I very seldom use effects I have found that SoundToys Crystalizer can add a little touch of something to the 2-mix, the problem is it grows old quickly.

If I can get it right it will save me some time...


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## sostenuto (Oct 3, 2018)

wst3 said:


> ***** So far I've settled on a few:
> - Brainworks bx_control - manage the stereo image **** I've been playing around with Brainworks DynEQ, Lindell Audio 354E, and the UA Precision Multiband compressor.
> - I love the Maag Audio EQ4, pretty much only use the "Air Band", but sometimes I use others.
> - For some really gentle compression (which I try to avoid at mix time, but sometimes the multiband won't do it) I use the Millenia TCL. ***** but the new Eventide 2016 could land there too. ***
> - for that little extra touch I have the SPL Vitalizer, but I'm not real happy with it on orchestral tracks. Need to do some more hunting. Recently I tried Soundtoys Radiator, but that was difficult to control, it went over the top quite quickly.



Really timely comment re. Millenia TCL __ as the curent promo, less another Code gets cost waaay down.
Use Maag EQ4 and continue to puzzle over adding EQ2 .... ?
bx_Limiter works fine for me, but many other good ones out there.

Would luv to like SPL Vitalizer but trial expired without grabbing me.
Just added Eventide SP2016 Reverb /Stereo Room .... too early, but good so far.

THX & regards


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## ghobii (Oct 3, 2018)

Waves SSL-G - for glue
U-He Satin - saturation, exciting, slight compression
Ozone 7 - mostly for the limiter and imager, but other modules often get used to lightly adjust things
Ozone Insight - metering


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## CT (Oct 3, 2018)

Very little. Maybe a touch of Logic's stock limiter, and pretty much always the Waves J37 for some "vibe."


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## j_kranz (Oct 3, 2018)

Pro Q2
ML4000
Inflator (sometimes)
L2


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## ceemusic (Oct 3, 2018)

on my project mixing templates 2bus for the past year:
Acustica's Diamond, Lift, Tim-Petherick's Vari Level or L-Bus, clipper, Alex-B MFC console mixbus
Other plugins get swapped in / out depending..


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## Vik (Oct 3, 2018)

Waves L3.


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## Dr.Quest (Oct 3, 2018)

whitewasteland said:


> *A.O.M. Invisible Limiter G2* : Pure witchcraft. I can't recommend this limiter enough.
> Recently made some tests with a producer friend, comparing it to Slate FG-X, PSP Xenon, FabFilter Pro-Q, and the maximizer from Ozone 8 Elements. The A.O.M. was our favourite, and Pro-Q a very close second.


 
I'm a little confused as it looks like you're comparing the Fab Filter Pro-Q to the A.O.M. isn't the Pro-Q an equalizer? Why compare that to a limiter? Or am I missing a hidden feature?


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## Emmanuel Rousseau (Oct 3, 2018)

Dr.Quest said:


> I'm a little confused as it looks like you're comparing the Fab Filter Pro-Q to the A.O.M. isn't the Pro-Q an equalizer? Why compare that to a limiter? Or am I missing a hidden feature?



Ahah, I just meant the Pro-L, which is a limiter. Shame on me !


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## Kony (Oct 3, 2018)

Dr.Quest said:


> I'm a little confused as it looks like you're comparing the Fab Filter Pro-Q to the A.O.M. isn't the Pro-Q an equalizer? Why compare that to a limiter? Or am I missing a hidden feature?


I was confused by that as well but assumed it should be Pro-L instead - typo?

EDIT: dang my comment was posted as the same time as the reply above - but I was right though!


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## j_kranz (Oct 3, 2018)

ghobii said:


> Waves SSL-G - for glue
> U-He Satin - saturation, exciting, slight compression
> Ozone 7 - mostly for the limiter and imager, but other modules often get used to lightly adjust things
> Ozone Insight - metering



Oh yeah, forgot about Insight... I usually check that before bouncing!


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## jmauz (Oct 3, 2018)

ghandizilla said:


> Out of curiosity: how do you use Saturn on the master bus? (I use it mainly on my strings bus.)



Just for some light saturation. Sometimes I use KramerTape as well but I like the added multi-band control that Saturn offers. 

Truth be told I get bummed out working with lifeless samples all day long so anything to give them some organic life helps.


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## davidgary73 (Oct 3, 2018)

Softube Tape or AlexB R42 Tape (RND 5042) 
Sonnox Inflator > just a little to enhance overall volume.
Acqua Water EQ (WSW 436511 solid state passive equalizer) > little top end and bottom end.
Acqua Magenta 4 Compressor (Stereo Variable Mu Compressor) > 1-2db compression.
AlexB MFC Console (AMS 88RS Console) > everything sounds good thru this console


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## labornvain (Oct 3, 2018)

I used to do top-down mixing until I discovered the glory of track presets. I mean I have no integrity at all. If I find a kick bass combo that sounds good in more than two cars, I'm going to use it again and again and again.

It really is a dream to get a good sound on something and be able to save it as a track preset. Then a year later, I pull up a project and think, you know this needs that snare I used on that other song. Boom. I can just load that track preset and I have that snare.

The only problem is, if you have a lot of stuff on your master bus, then that preset isn't going to sound the same. Of course you can save master bus presets too. But that is a dubious proposition.

So I try to do everything up-stream so to speak. And the truth is I don't really use processing on the master bus anymore. I do everything with aux buses and groups.

But after all is said and done, and the mix is sounding like I want it, it is fun to throw a few things on the whole thing. One of those for me is the Kush Clariphonic. I don't know how it works, but this little thing will give your mix four dimensions in addition to the other three. But it's a preset killer so I usually save it for the very end.

I do, however, always mix into a brick wall. I know it's a bad habit. But I like it. It gives you kind of an elastic, Michael Brauer sort of thing like mixing into a rubber sheet. I usually opt for the Pro L2, sometimes the Mcdsp 4000. But most compression, saturation, and other goodies I save for tracks or groups or aux buses.

I have to say, though, in all my years it has never occurred to me to put a reverb on the master bus. But hey, I'll try anything.

I get a similar effect, I suppose, in another way though. A little trick I've been using for years. I'll find a room reverb I like, and then fix it so I can only hear the returns from that reverb. And then using the sends to that reverb, I'll mix the song inside of it.

This has the lovely effect of making everything sound like it was recorded live in that room. I can't wait to discover that all this time I could have just slapped a reverb on the master bus and been done with it.


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## Saxer (Oct 3, 2018)

I'm lazy in mixing... mostly on orchestral stuff it's Ozone 8 with this preset:


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## jneebz (Oct 3, 2018)

*UAD Pultec* - color + air
*ProQ 2* - surgical or M/S or both
*TDR Kotelnikov* - light transparent comp
*ToneBooster ReelBus* - tape emulator
*Oxford Inflator* - every mix
*Ozone* - Limiting, sometimes Maximizer


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## ghandizilla (Oct 3, 2018)

jmauz said:


> Truth be told I get bummed out working with lifeless samples all day long so anything to give them some organic life helps.



Amen to that 

bx_control has been quoted here and I agree it's one of the best tools available to deal with the stereo image. Do some of you use other brainworx tools as well on their master? I'm thinking about tools like bx_XL.


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## Pudge (Oct 4, 2018)

Waves NLS (colour 1)
FabFilter ProQ (clean up)
FabFilter ProC (light comp)
Waves J37 (colour 2)
FabFilter ProQ (shaping)
FabFilter ProMB (control)
Waves Abby Road Vinyl (Colour 3)
FabFilter ProL or something else by T-Racks

Sometimes change things up using Slate Revival or Waves SSL Comp oh and not to mention Sound-Toys Decapitator .


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## Emmanuel Rousseau (Oct 4, 2018)

labornvain said:


> I have to say, though, in all my years it has never occurred to me to put a reverb on the master bus. But hey, I'll try anything



Well, everything has been carefully mixed with different mic perspectives (close, tree, room) before hitting that master reverb 

That final touch isn't there to simulate a space but to add a last touch of "glue". It is very light  I think I see this the same way I would see compression in a full mix (well, not on orchestral one, but let's say a pop mix) : every element that needed compression has been treated before the master, and the dynamics are already taken care of. But one last soft touch of compression on the master bus can add a final sense of cohesiveness and vibe to the track.


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## Nick Batzdorf (Oct 4, 2018)

Cytoic The Glue.

I put other things in as needed, but that compressor is really great.


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## Henu (Oct 4, 2018)

Bus compressor (software or hardware) when mixing contemporary music and Sonarworks Reference. Everything else is spared for mastering, which I guess most people skip due to their amount of processing in the bus.


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## tmhuud (Oct 4, 2018)

Nick Batzdorf said:


> Cytoic The Glue.
> 
> I put other things in as needed, but that compressor is really great.



Love it too.


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## Ned Bouhalassa (Oct 4, 2018)

EQuality -> Satin -> Elephant.


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## germancomponist (Oct 4, 2018)

If I use only one, then:
1. (Sonnox)Limiter
2. EQ
3. Sonnox Inflator
4. Waves L3
But mostly I use more than one, especially when I mix orchestra. And also there I use automation to control the eq's, the effects and the output volume, to create the most possible range from ppp to fff. This is very useful for my goals.
Dynamic is the most important thing, if u ask me.
As a side note: You can fake so many things in your master track(s)!
And, when I talk about automated dynamic, I not only speak about the loudness, I also mean controlled dynamic frequencies, stereo field e.t.c. . .


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## Pantonal (Oct 6, 2018)

Waves had a video on mastering a (R&B) song in which they promoted their Infected Mushroom Pusher. At $29 it seemed a steal, and indeed it's a very capable plugin. The PAZ analyzer was also on sale, and I got an extra discount for buying more than one. Ran into a bit of trouble because my other Waves plugins were version 9 and they're now on version 10, but they had a fix for that. I can see how these plugins would be useful for orchestral music, I've been concentrating on other areas lately.


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## SBK (Oct 6, 2018)

Stam audio SA-4000+ analog master bus compressor! 
It makes the sound much more powerful. I use plugins to do mixing but the master bus is in need of analog compressor. I find Softubes compressors the best!


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## Henu (Oct 6, 2018)

SA-4000! <3 It's what I also use nowadays. (not the modded version though- ordered it first but accidentally got sent the wrong one...long story, hah!) I usually tend to mix into an SSL- plugin until we are at the stage we're working with the final mixes with the client when I rig the hardware on. "Could you raise the bass and add some snap to the kick drum at fast parts" is just not worth to real-time-bounce four times a day.


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## Emmanuel Rousseau (Oct 6, 2018)

Stam Audio does have really nice clones indeed !


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## StevenMcDonald (Oct 6, 2018)

1. Cubase Compressor for a light glue compression. Considering trying TDR Kotelnikov for this instead though.

2. A1 Stereo Control for the safe bass feature.

3. (Optional) Xfer OTT. Usually at about 10% depth for some light hyping on heavier tracks such as trailer music, action/drama underscore, and pop or hip hop.

4. (Optional) Waves J37 tape emulation, usually only if it's a primarily acoustic track to subtly give it a little more of a "recorded" feel I guess? I'm still figuring the whole tape emulation thing out lol.

5. Ozone 8 Elements - for M/S EQ, Imager, and that magical Limiter.

No saturation usually, because usually that happens at a bus or individual track level. Of course all of this is subject to change depending on needs!


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## Billy Palmer (Oct 6, 2018)

Ozone, subtle compression, hint of VSS3. I sound like I'm making a meal or something.


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## Sanlky (Oct 7, 2018)

Depending on music style!
A Pultec type EQ really helps me. Clariphonic added subtly is great, for comps, Focusrite Red comp sounds pretty good in 1.5 ratio, a hardware compressor i like lot and its affordable, is Buzz Audio DBC 20, back to software plug ins, Acquamarine from acustica audio does a nice job, and for a more vintage sound, i have Gold Compressor(some kind of neve compressor) which sounds really cool. MM1 limiter from softube is incredible and affordable. Weiss DS1 mk3 from soft is incredible, but can be pretty challening, for mixing MM1 does the job right, better than many others limiters i tried(including Aom, Waves L2, Fab filter Pro L, limitless).
But i would never make drastic changes on mixbus, only very subtle processing or i would strugle later mastering. Always a Vumeter, durrough from waves can be really trusted as a loud meter.


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## storyteller (Oct 7, 2018)

Only izotope’s Tonal Balance, Waves WMS, and sometimes a master bus comp (like waves ssl or SSL’s bus comp plugin). Everything else is left for mastering - including 2bus tape plugins (which I usually tend to put on a track for track basis as well). I used to mix into a chain, but I find my mixes are better if I get it right without the chain. Also, plugins on the master bus induce latency and chew CPU cycles on complex mixes. So that saves me some cpu cycles as well.


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## Steinmetzify (Oct 7, 2018)

Ozone 8, and ReelBus 4.

Everything else gets added later if needed, but I can get by with those two only and usually do.


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## Akarin (Oct 8, 2018)

I see some people use A1 Stereo Control. How do you do it exactly? Leave the width at 100% and engage the safe bass feature? Or do you also use it to widen the stereo image?


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## Emmanuel Rousseau (Oct 8, 2018)

Akarin said:


> I see some people use A1 Stereo Control. How do you do it exactly? Leave the width at 100% and engage the safe bass feature? Or do you also use it to widen the stereo image?



I'm just using the Safe Bass feature  Not a fan of widening the stereo image, unless the mix feels REALLY narrow (but with sample libraries, that's rarely the case).

A common task where I could see myself using the Safe Bass and also narrowing the stereo image with this plugin would be on drum overheads with AB recordings.


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## Akarin (Oct 8, 2018)

whitewasteland said:


> I'm just using the Safe Bass feature  Not a fan of widening the stereo image, unless the mix feels REALLY narrow (but with sample libraries, that's rarely the case).
> 
> A common task where I could see myself using the Safe Bass and also narrowing the stereo image with this plugin would be on drum overheads with AB recordings.



Awesome. Thanks. I've added it to my template and will try this out. My master bus has now:

- Hornet VU meter to bring the gain to a correct level
- Waves J37
- A1 Stereo
- Pro-Q2
- Solid Bus Comp
- Ozone 8 Advanced
- Tonal Balance (with my reference tracks loaded)


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## T-Funk (Oct 17, 2018)

* Softube Tube-Tech Equalizers MK II
* McDSP AE600
* iZotope Ozone 8 Imager
* Brainworx bx_townhouse
* Black Box Analog Design HG-2
* PSP Xenon


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## Fab (Oct 18, 2018)

whitewasteland said:


> I'm just using the Safe Bass feature  Not a fan of widening the stereo image, unless the mix feels REALLY narrow (but with sample libraries, that's rarely the case).
> 
> A common task where I could see myself using the Safe Bass and also narrowing the stereo image with this plugin would be on drum overheads with AB recordings.



So, the Safe Bass feature is mono bass below 'something' Hz right?


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## bryla (Oct 18, 2018)

Some kind of variation on this:

Waves Abbey Road Vinyl/Slate VTM/Ozone Tape (optional degrees of coloration)
RC24/Verbsuite (optional)
Ozone Dynamic EQ
Slate VMR/VBC
Pro-L2
Insight


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## Emmanuel Rousseau (Oct 19, 2018)

Fab said:


> So, the Safe Bass feature is mono bass below 'something' Hz right?



Yep !


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