# Favorite Character Tools On Your Mix Bus?



## Nate Johnson (Dec 1, 2020)

I've been stubbornly been pretty minimal when it comes to my master bus (final mix, pre master) for a long time now. I've only been using stock eq/compression from whatever DAW I'm using, and definitely a 'less is more' approach. However, I've just added a couple of more colorful plugin sets (Waves API/SSL) to my collection and am already loving the results. 

I know most of you guys play in the 'clean' realm, dealing with traditional orchestra templates and all, so probably not playing around with color so much - but none the less...


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## Kery Michael (Dec 1, 2020)

I’ll have a compressor, before that a little distortion added to brighten the sound. Use decapitator on very mild settings.
Than ozone.
And some metering, loudness meter and tonal balance control. Try to get a consistent volume across my tracks.

I’m interested in what others say. Particularly any tools or suggestions to “warm“up the sound. I recently saw a YT video where someone mentioned a plug-in that does a good job of that, but already forgot what that was. Oh well.


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## AudioLoco (Dec 1, 2020)

HG1 Black box sometimes works if used lightly on orchestral material.
There is a Pultec emulation from Noise Ash called EQp1 which is an EQ obviously, but has a lot of character. A couple of dbs on 10k can go a long way on that plugin.
RC-20 if you want something completely different.


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## patrick76 (Dec 1, 2020)

Nate Johnson said:


> I've been stubbornly been pretty minimal when it comes to my master bus (final mix, pre master) for a long time now. I've only been using stock eq/compression from whatever DAW I'm using, and definitely a 'less is more' approach. However, I've just added a couple of more colorful plugin sets (Waves API/SSL) to my collection and am already loving the results.
> 
> I know most of you guys play in the 'clean' realm, dealing with traditional orchestra templates and all, so probably not playing around with color so much - but none the less...


Soundtoys Decapitator, Stam Audio Pultec clone. Other than that, it varies. Just picked up the Shadow Hills compressor plug-in from Plugin Alliance, so will be trying that out. Oh, also a Stam SSL compressor clone. Sometimes Satin too.


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## Petrucci (Dec 1, 2020)

I love UAD Ampex tape almost on everything, there are excellent "ultra linear" presets for it downloadable from UAD site. Used to have Slate VTM on this duty but it "stealed" a lot of highs. Also UAD Massive Passive, UAD Fairchild, UAD Vari-Mu. And of course Pro-L2.


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## Nate Johnson (Dec 1, 2020)

AudioLoco said:


> There is a Pultec emulation from Noise Ash called EQp1 which is an EQ obviously, but has a lot of character. A couple of dbs on 10k can go a long way on that plugin.



Just bought that Pultec bundle (only $99!) - holy SHIT. MAGICAL. 

Thanks for that one!


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## cloudbuster (Dec 1, 2020)

Mostly just a channel strip, more often than not I grab the Waves EMI TG12345 over any other strip in the box, the first word that comes to mind when trying to describe the sound of that thing would be trippy (if that makes any sense).


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## AudioLoco (Dec 1, 2020)

Nate Johnson said:


> Just bought that Pultec bundle (only $99!) - holy SHIT. MAGICAL.
> 
> Thanks for that one!


Yay! Enjoy! I can hear it's doing something (nice) even when not doing any boosts or cuts. 
Really a pleasant surprise for me a few months ago when I was on a hunt (and lots of demoing) for a great Pultec plugin...


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## Nate Johnson (Dec 1, 2020)

cloudbuster said:


> Mostly just a channel strip, more often than not I grab the Waves EMI TG12345 over any other strip in the box, the first word that comes to mind when trying to describe the sound of that thing would be trippy (if that makes any sense).



oh I like the sound of that...


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## Nate Johnson (Dec 1, 2020)

AudioLoco said:


> Yay! Enjoy! I can hear it's doing something (nice) even when not doing any boosts or cuts.
> Really a pleasant surprise for me a few months ago when I was on a hunt (and lots of demoing) for a great Pultec plugin...



just fooling around with presets in Heritage Pro on a fairly ‘modern’ sounding mix - I dialed up ‘Master - Full Bright - INSTANT smile upon on my face!


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## SupremeFist (Dec 1, 2020)

Waves Abbey Road TG Mastering Chain does really nice things with minimal settings. (I only activate the EQ & filters, and occasionally the stereo widener.)


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## Vin (Dec 1, 2020)

Kazrog True Iron & Toneboosters ReelBus.


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## jcrosby (Dec 1, 2020)

Black Box HG2, various tape and console plugins, ST Radiator, Ozone Exciter are some of my most used... Each on a_ case by case _basis however I more or less always have some kind of console emulation (Lindell 80 lately), and a very high likelihood Ozone's exciter will be there as well..

Pretty rare I use compression on the mix bus. I tend to favor tape, saturation, and/or removing peaks with a soft clipper. (Depends on the scenario - whether it's mastered out of house or something I have to deliver mastered).


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## Nate Johnson (Dec 2, 2020)

jcrosby said:


> Black Box HG2, various tape and console plugins, ST Radiator, Ozone Exciter are some of my most used... Each on a_ case by case _basis however I more or less always have some kind of console emulation (Lindell 80 lately), and a very high likelihood Ozone's exciter will be there as well..
> 
> Pretty rare I use compression on the mix bus. I tend to favor tape, saturation, and/or removing peaks with a soft clipper. (Depends on the scenario - whether it's mastered out of house or something I have to deliver mastered).



the console emulation thing has got me thinking. Are you just using a single instance on the master bus? I’ve always read that some people strap and instance to every track, which sounds nuts! But I get it, I mean the idea is to _emulate _a _console. _Point being that it would be the glue that really puts everything together, maybe more so than just an eq and compression.


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## Ned Bouhalassa (Dec 2, 2020)

U-He’s Satin. It’s a tape simulation that’s been on my Main Bus since it came out:








Satin: Tape simulation


Satin: Tape simulation



u-he.com


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## pmcrockett (Dec 2, 2020)

Zynaptiq Intensity. It was one of those plugins I wasn't sure I would actually use when I bought it, but I now always have it on my master channel (about 30% power and 30% wet — a little goes a long way). It's difficult to describe what exactly it does, sort of an upward compression and harmonic excitement kind of sound, but the overall effect is that it highlights details and crisps up the sound.


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## lux (Dec 2, 2020)

Nice thread. I recently got into Acustica Audio Channel Strips (Cream, Magenta, Amethist, Water, Lime), which I love, despite hard to use for tracking and with some GUI flaws. But the sound is just amazing and I'll end up collecting them all.


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## jcrosby (Dec 2, 2020)

Nate Johnson said:


> the console emulation thing has got me thinking. Are you just using a single instance on the master bus? I’ve always read that some people strap and instance to every track, which sounds nuts! But I get it, I mean the idea is to _emulate _a _console. _Point being that it would be the glue that really puts everything together, maybe more so than just an eq and compression.


I put it across my instrument busses and mix bus. On my instrument busses the channel plugin is the first insert the bus plugin is the last insert. On the mix bus I only use the bus plugin.

It does a few things I really like, it glues each bus together without having to strictly rely on compression, adds some subtle harmonic thickness, and gives a little lift to the low end while subtly softening the ultra-high top end. (The tone and harmonics depend on the console model of course, but generally they all have some level of glueing effect. Basically they help a mix to sound more cohesive and solid.)


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## MartinH. (Dec 2, 2020)

Nate Johnson said:


> the console emulation thing has got me thinking. Are you just using a single instance on the master bus? I’ve always read that some people strap and instance to every track, which sounds nuts! But I get it, I mean the idea is to _emulate _a _console. _Point being that it would be the glue that really puts everything together, maybe more so than just an eq and compression.



If you have a console emulation that does the tolerance modelling like the brainworxs consoles with TMT do, then the whole point is to slap one instance on every track and assign it a different "modeling channel" internally for each one. That way they each get essentially processed a little differently on the left and right channel of each track, and the summed signal gets a bit of that analog "magic". It's not snake oil, I can hear the difference, which means it must be a pretty significant one because I don't have well-trained ears for stuff like that.


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## LudovicVDP (Dec 2, 2020)

Learning the hard way to keep the master bus as effect-free as possible.

Can't get the sum of the stems to match the full track when there is too much happening on the master bus.


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## jneebz (Dec 2, 2020)

Vin said:


> Kazrog True Iron & Toneboosters ReelBus.


Vin, I got ReelBus on your recommendation a few years ago and it’s been on my 2-bus ever since. So thanks for that...love it. And inexpensive...


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## aegisninja (Dec 2, 2020)

Idk if I'm going to use it on orchestral/cinematic music much, but I've just ordered the Softube Console 1 for mixing, and will probably try out the console drive emulation on the master for some tracks.


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## Vin (Dec 2, 2020)

jneebz said:


> Vin, I got ReelBus on your recommendation a few years ago and it’s been on my 2-bus ever since. So thanks for that...love it. And inexpensive...



Glad to hear! I use it on most mixes usually, it's cheap, versatile and most importantly sounds superb.


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## Nate Johnson (Dec 3, 2020)

LudovicVDP said:


> Learning the hard way to keep the master bus as effect-free as possible.
> 
> Can't get the sum of the stems to match the full track when there is too much happening on the master bus.



Can you expand on this a bit?


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## Garlu (Dec 3, 2020)

I usually find myself composing with a "low latency" master: usually a bit of corrective EQ (fabfilter), a bit of +10db compressor and a bit of "safety" limiting with Fabfilter L-2. 

If I want to tweak a bit further, I'd add a bit of coloured-eq pulteq-like with PA's Bettermaker 232D and also a bit of parallel compression with PA's townhouse SSL comp. Works great! 

And... for further/final exporting (adding latency here), the chain looks like: 
- Tape emulation 
- ProQ3 corrective EQ
- A bit of +10 comp (parallel)
- Bettermaker EQ (for a bit of the "smilly" curve, pulteq, for a adding a bit of punch on the low end and air on the high end)
- A bit of Townhouse (parallel)
- Ozone 8 (for a bit of spread with the imager on the high frequencies and a bit of maximizer/limiting, not usually as a limiter, but just to bump up a few db's)

Ozone makes it impossible to do realtime playing on my end, so, when revisions need to be made: I'd swap the preset back to the composing one, or just replace Ozone 8 with Fabfilter's L-2. 

Everything being shuttle.


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## cloudbuster (Dec 3, 2020)

pmcrockett said:


> Zynaptiq Intensity. It was one of those plugins I wasn't sure I would actually use when I bought it, but I now always have it on my master channel (about 30% power and 30% wet — a little goes a long way). It's difficult to describe what exactly it does, sort of an upward compression and harmonic excitement kind of sound, but the overall effect is that it highlights details and crisps up the sound.


I've had an eye on that for a while but then I already have Ozone adv. which can pull off something very similar, some sort of increased clarity and/or presence. Actually I've always used Ozone more than Neutron on single tracks, lol.


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## Nate Johnson (Dec 3, 2020)

ohhh you guys want a hot tip on destroying a totally-fine-and-almost-complete-mix? Introduce fancy new plugins late in the game!!

oops


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## doctoremmet (Dec 3, 2020)

SupremeFist said:


> Waves Abbey Road TG Mastering Chain does really nice things with minimal settings. (I only activate the EQ & filters, and occasionally the stereo widener.)


+1


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## Nate Johnson (Dec 3, 2020)

jcrosby said:


> I put it across my instrument busses and mix bus. On my instrument busses the channel plugin is the first insert the bus plugin is the last insert. On the mix bus I only use the bus plugin.
> 
> It does a few things I really like, it glues each bus together without having to strictly rely on compression, adds some subtle harmonic thickness, and gives a little lift to the low end while subtly softening the ultra-high top end. (The tone and harmonics depend on the console model of course, but generally they all have some level of glueing effect. Basically they help a mix to sound more cohesive and solid.)



Cool. I'm now experimenting with Noise Ash's Need 31102 Console Eq (just on the front end of busses). Definitely imparts a different flavor than I'm used to, but I think I can dig it, once I figure out how to dial this in.


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## LudovicVDP (Dec 3, 2020)

Nate Johnson said:


> Can you expand on this a bit?



Imagine you have effects that color your sound on the master bus. Let's take a reverb for the example sake (not saying to need to put a reverb on the master bus  )
You have 1 reverb applying on the whole piece.

Publisher asks for the stems:

Stems being individuals, they don't take the master bus into consideration. All your 10 stems get reverb-free. The sum of the stems is reverb-free as well.
Or you make your 10 stems go through the master bus reverb one by one. But then you end up with 10 individual reverbs instead of 1 reverb on the whole thing. Not the same either

I've had the case where I would put some Ozone and/or other stuffs, compressors, whatever on the master bus to finalize a track. Then the publisher coming back at me saying "your stems together don't sound the same as the track you sent"
I now work with groups and barely touch the master if the track is to be sent to a publisher.


BTW: I'm far from being pro so take all this with a pinch of salt. Pro's might laugh at this. I'm just sharing a true story. I'm learning every day.


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## Nate Johnson (Dec 3, 2020)

SupremeFist said:


> Waves Abbey Road TG Mastering Chain does really nice things with minimal settings. (I only activate the EQ & filters, and occasionally the stereo widener.)



This might end up in my collection as well. I like the looks of it at least. 

Although, I gotta say the Waves GUIs are kinda...not the sharpest looking. Kinda surprised in this day and age. At least on my Macbook's Retina screen....

In contrast the the BEAUTIFUL Noise Ash plugins I just added.


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## Nate Johnson (Dec 3, 2020)

LudovicVDP said:


> Imagine you have effects that color your sound on the master bus. Let's take a reverb for the example sake (not saying to need to put a reverb on the master bus  )
> You have 1 reverb applying on the whole piece.
> 
> Publisher asks for the stems:
> ...



ok I gotcha. Interesting - I wonder how to work around this? I suppose it's more about mixing your stems without relying on the master bus to glue it all together? Or in the reverb example, sending tiny bits of each of your stems to the 'master' verb so when played as a whole kinda sound like the og 'final' track. But there must be some relationship between you and whoever is doing the big mix (I assume you're talking film here, dialogue/fx/music) where you can communicate final intent? Or is that not normal either?


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## AudioLoco (Dec 3, 2020)

Mixes always just sound "better" with mix bus processing (or better still,mastered), but...Unfortunately it is frustrating, but that's how it is.
When doing (any) music for media you got to rely less and less on the master bus inserts. Like others were explaining here, you have to cater for the mix sounding (at least very very nearly) identical to the stems playing together. If you start putting, especially compression and saturation, the interaction of the dynamic changes, and the way things saturate if processed individually vs on the master bus is different.
In pop and commercial recording you can't live and be competitive without a hefty dose of bus processing. It is part of the sound.
In music for media you need to really find workarounds for that. Everyone has their own approaches to this. (Would be great to hear some techniques from other VI-Control people!)
Some people apply sidechain compression keying from the master while passing the stems for example.
I personally have developed a workflow where my ("master") processing is on the stems buses, not he master fader (a la Brauer, very vaguely). Separate reverbs for each stem (even if on the same exact setting, not to miss the "one room" for all approach) are another way of making easier the stem exporting part as with Cubase, I go for a walk with my dog, and do it all in one go.
Surgical EQ usually is not a problem when on the bus. In that case, an export of the stems, all with the same bus EQ won't alter how they interact and will provide a coherent stem mix.
If I need to send the cues out for listening, or a separate, non video release, I will work on the whole stereo file and will do the usual EQ/compression/limiting to my heart's content. (And it always end up sounding better then the "media" released mixes. arrrrrrgh!)


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## LudovicVDP (Dec 3, 2020)

AudioLoco said:


> Mixes always just sound "better" with mix bus processing (or better still,mastered), but...Unfortunately it is frustrating, but that's how it is.
> When doing (any) music for media you got to rely less and less on the master bus inserts. Like others were explaining here, you have to cater for the mix sounding (at least very very nearly) identical to the stems playing together. If you start putting, especially compression and saturation, the interaction of the dynamic changes, and the way things saturate if processed individually vs on the master bus is different.
> In pop and commercial recording you can't live and be competitive without a hefty dose of bus processing. It is part of the sound.
> In music for media you need to really find workarounds for that. Everyone has their own approaches to this. (Would be great to hear some techniques from other VI-Control people!)
> ...



Thanks for that nice development.


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## NekujaK (Dec 3, 2020)

The usual suspects (tape emulation, gentle buss compressor, subtle shaping EQ) and the "secret sauce"... a somwhat obscure saturation plugin that I've come to adore. It's amazing how good this can make a track sound:






Ploytec Aroma Plugin


Aroma for VST, AU and AAX not only adds elegance to your music, Aroma makes it shine, sounding simply sensational.



www.ploytec.com


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## Brasart (Dec 3, 2020)

What my default mastering template looks like:

I don't necessarily engage every plugin.
Sometimes I also use Aphex Vintage Exciter in parallel to brighten a mix.

One plugin that I almost always engage right now is the AR TG Mastering, for stereo or m/s EQ and sometimes soft compression


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## Kevinside (Dec 3, 2020)

I am a big fan of the Cranesong Plugins. (Phoenix 2,Ra and Peacock)
Wonderful sounding, but AAX Only...
I also very often use the Sonnox Plugins...
@NekujaK mentioned Ployteq Aroma, which is heavily inspired by Cranesongs Algos from the Hedd Series Hardware. Aroma is cheap and sounds really great.
The only downside is the activation process of the plugin, which is e-mail based.
You have to write an e-mail with the code provided by the plugin and wait for a response code...

Other Plugins i am using...Zynaptiq Intensity, Softube Tape and Harmonics, Slate VCC...
The offerings from Soundtoys and Plugin Alliance are also great...
Pultec Style: I am using the one from Black Rooster Audio and the Softube Classic Channel MK2...

Today, there are so many differnt Plugins out there for adding "character" to the sound...
I think, the best thing is to demo the diffent ones and buy the ones, which sound best for you.

Another way to add "that analog" sound is to use external Hardware....

Personally, i have no standard plugin chain for the master or mixbux. Every material, composition, track...is different and need a different treatment. I am very carefull with saturation plugins. Sometimes a clean eq is the right choice..

My clean master chain is Weiss Comp/Lim and Weiss EQ 1 or MDWEQ bei Georg Massenburg.
Another wonderful range of Eqs are the MAAT EQs, which are very expensive, but they are almost perfect... Blue for mixing, Orange and Red for Mastering...

PS: Plugins, which have no chance to get on my mixbus or master: Waves...


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## Scoremixer (Dec 3, 2020)

U-He Satin is one that often lives on the mixbus - the tape saturation is cool but it's the compander (in various combos of encode and decode) that is unique amongst other tape emu's I've used and can do really nice cohesive things to a mix. 

The old Digi Lo-Fi is another great one for those in PT. Sometimes 0.1 distortion is just enough to punch things up a bit. 

And there's never a singular mix bus - always many of them, one for each stem. Plugin parameters linked across them and dynamics sidechained from the full mix.


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## Jeremy Spencer (Dec 3, 2020)

I like to have Waves Puigtec and Kramer Master Tape on my strings (different custom presets for longs and shorts). I saw Alan Meyerson using this combo in one of his videos, tried them, and have been using ever since.


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## Nate Johnson (Dec 3, 2020)

Oh wow, the Softube stuff looks super nice. (Weiss/Chandler=drool)


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## labornvain (Dec 21, 2020)

Kevinside said:


> PS: Plugins, which have no chance to get on my mixbus or master: Waves...


Why?


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## doctoremmet (Dec 21, 2020)

labornvain said:


> Why?


Incoming WUP rant in 3... 2... 1...


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## muk (Dec 22, 2020)

Kush Clariphonic (not only for character) and Sonnox Inflator are two plugins I often use if I want some umami in my mastering chain. I use TC Electronics Master X5 on everything I write for tv (thanks to @charlieclouser for the tip!). I scored a TC Powercore unit on the cheap as they are not supported anymore. It even came with a license for VSS3.
On recommendation from @re-peat I am demoing Ploytec Aroma currently. Really like the mid-side processing it can do. Also for tv work I've come to like the TC1210 spatial expander very much recently.


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## vitocorleone123 (Dec 22, 2020)

I try not to.

I'll add character plugins to instruments and busses like crazy/as desired, but I try to avoid anything but SlickEQ M, Kotelkikov GE, and Pro-L2 on the mixbus now.


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## mgaewsj (Jul 23, 2021)

Jeremy Spencer said:


> I like to have Waves Puigtec and Kramer Master Tape on my strings (different custom presets for longs and shorts). I saw Alan Meyerson using this combo in one of his videos, tried them, and have been using ever since.


could you please point me to the video where Alan shows how to use Kramer Master Tape? (there are many videos to pick from and some are quite long )


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## enyawg (Jul 23, 2021)

Depending on the project and style.

Here's what's on the piece I'm currenty composing:
Small amount of compression, EQ, Reverb etc. at each level can almost always assist in a mix to sound more coherent and together. For me, all collectively become the "character" of the track.

*Mix bus:*
Debusser
Black Box
Fabfilter
NEOOLD V76U73
SSLComp (Waves)
Decapitator (just a bit if needed)
ValhallaVintageVerb
ValhallaRoom (very slight to glue)
bx_subsynth

Re compression:
I have never, not once, not ever - had someone tell me that a recording/ composition was worse with compression.
But slight settings and understanding how they work is the key.

*Group buses:
Woods/ Brass longs & shorts (different settings):*
NEOOLD V76U73
FabFilter Pro-Q 3
Reverberate (Bricasti M7) - send

*Strings longs:*
API-2500
FabFilter Pro-Q 3
Reverberate (Bricasti M7) - send

*Strings shorts:*
NEOOLD V76U73
FabFilter Pro-Q 3
Reverberate (Bricasti M7) - send

*Piano:*
NEOOLD V76U73
FabFilter Pro-Q 3
Reverberate (Bricasti M7)
Sometimes PSP PianoVerb - send

*Solo vn, va, vc:*
FabFilter Pro-Q 3
Reverberate (Bricasti M7) - send

*Perc:*
Arouser (Empirical Labs)
Reverberate (Bricasti M7) - send

Drum Kit:
VBC Rack
Reverberate (Bricasti M7) - send

*Guitar:*
Omnipressor
API-550A
Reverberate (Bricasti M7) - send

*Gtr Bass:*
Omnipressor
Reverberate (Bricasti M7) - send

*Instrument tracks:*
Use to taste at minimal setting unless an effect.

I usually send 2 mixes to mastering (at varius levels). One with Mix buss comp, eq, reverb etc as I like it, and one with mix buss dry.


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## SupremeFist (Jul 23, 2021)

I've heard of this thing of adding slight verb on the mix bus before but never really understood it. If you already have sends to various verbs, delays etc in the mix what is the purpose of adding another one at this stage? (Honest question!)


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## enyawg (Jul 23, 2021)

SupremeFist said:


> I've heard of this thing of adding slight verb on the mix bus before but never really understood it. If you already have sends to various verbs, delays etc in the mix what is the purpose of adding another one at this stage? (Honest question!)


For a midi/sampled orchestra composition or cinematic piece I will use convolution and algorithmic reverbs together.

I send convolution reverb to both create distance/ depth in The orchestra... and create the room sound. 
My mix bus has an inserted algorithmic reverb (Valhalla Vintage Verb, Abbey Road Plate, ValhallaRoom etc.) to create "traditional" reverb we are all fairly use to hearing. 
If you think about it this is what happens when recording a live orchestra in a room or scoring stage. 
You record the instruments with the close mics (dry signal), the room mics / decca tree (convolution reverb recreating this)... and run that all through an algorithmic reverb. 

So in summary I mix convolution (a convolution reverb takes a sample from a real-world space, also called an impulse response or IR) to create the room and the depth in the instruments...
then adding the algorithmic is like the polish that makes is sparkle.


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## AudioLoco (Jul 23, 2021)

SupremeFist said:


> I've heard of this thing of adding slight verb on the mix bus before but never really understood it. If you already have sends to various verbs, delays etc in the mix what is the purpose of adding another one at this stage? (Honest question!)


In my experience you add reverb on the mix bus only to solve mix problems, usually in mastering.
It is a last last resort and mixing should cater for all your reverberation needs.


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## Jeremy Spencer (Aug 3, 2021)

mgaewsj said:


> could you please point me to the video where Alan shows how to use Kramer Master Tape? (there are many videos to pick from and some are quite long )


Starts around 16:15


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## jonnybutter (Aug 3, 2021)

Nate Johnson said:


> Oh wow, the Softube stuff looks super nice. (Weiss/Chandler=drool)


The Weiss compressor/limiter is amazing.


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## mgaewsj (Aug 3, 2021)

Jeremy Spencer said:


> Starts around 16:15



thnx!


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## proggermusic (Aug 3, 2021)

I recently mixed a studio project by the faculty at the college I teach for, and after getting the mix into generally good shape, all I stuck on the output bus was a Black Rooster LA2A and Fuse Audio Flywheel (tape emulator). Just those two together helped impart really nice color and vibe. I like to take care of the "problem solving" parts of the mix in individual tracks and groups, and don't generally put much on the output bus. I'll end up doing a quick-and-dirty ITB mastering job on this track, for which I'll probably just use another instance of Flywheel and BX Masterdesk, which makes things almost too easy (and keep in mind I'm not a proper mastering engineer whatsoever).

I saw @enyawg above mention many instances of the NEOLD V67U73, and same here, I'm using that on many, many instrument and vocal tracks. Absolutely wonderful plugin. I also use Fuse's version of that pre and comp, the VPRE376 and VCL373, which sound comparably nice.


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## Dietz (Aug 3, 2021)

In case you missed this fabulous piece of gear: Vertigo's famed "Mix Satellite" is now available as a newly designed (i.e. modeled) plug-in, too:

-> https://www.vertigosound.com/products/vsm-4-plugin

It lives on my mix bus since it appeared on the scene. The first plug-in to give me a similar "just-press-the-'better'-button!" experience as CraneSong's unrivaled HEDD 192.


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## muziksculp (Aug 3, 2021)

Dietz said:


> In case you missed this fabulous piece of gear: Vertigo's famed "Mix Satellite" is now available as a newly designed (i.e. modeled) plug-in, too:
> 
> -> https://www.vertigosound.com/products/vsm-4-plugin
> 
> It lives on my mix bus since it appeared on the scene. The first plug-in to give me a similar "just-press-the-'better'-button!" experience as CraneSong's unrivaled HEDD 192.


Yes, VSM-4 is a great character enhancer/changer plugin. I also have the VSM-3. But prefer the VSM-4, another new comer I would highly recommed is the Kush Audio *BLYSS* plugin, Loving this one.  

https://thehouseofkush.com/products/blyss


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## muziksculp (Aug 3, 2021)

Anyone using the *Weiss* *Compressor/Limiter* ? 

I'm thinking about getting it, I already have the Weiss MM-1 , don't need the Weiss De-Esser, but their Compressor/Limiter is getting a lot of praise. It's a software replica of their HW almost $10,000 HW Mastering processor.


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## ALittleNightMusic (Aug 3, 2021)

muziksculp said:


> Anyone using the *Weiss* *Compressor/Limiter* ?
> 
> I'm thinking about getting it, I already have the Weiss MM-1 , don't need the Weiss De-Esser, but their Compressor/Limiter is getting a lot of praise. It's a software replica of their HW almost $10,000 HW Mastering processor.


Total opposite of a character plugin. Clean as clean can be.


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## muziksculp (Aug 3, 2021)

ALittleNightMusic said:


> Total opposite of a character plugin. Clean as clean can be.


Yes Thanks. 

It's a Professional Grade Mastering Compressor/Limiter. Super transparent, and supposed to be one of the best for mastering. That's why I'm very interested in this one. I have other compressors/limiters and saturation plugins if I wanted to change/add character to a mix.


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## ALittleNightMusic (Aug 3, 2021)

muziksculp said:


> Yes Thanks.
> 
> It's a Professional Grade Mastering Compressor/Limiter. Super transparent, and supposed to be one of the best for mastering. That's why I'm very interested in this one. I have other compressors/limiters and saturation plugins if I wanted to change/add character to a mix.


Well you're asking in a thread about character plugins...

Yes, it is a master tool - a very expensive one. Do you know how to master? Are you very good at that? Are you so good (and more importantly, is your room setup so good) that you will be able to tell the difference between this and a regular clean compressor / limiter? The answer was no for me for all of those questions. Ozone does the trick or FabFilter.


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## muziksculp (Aug 3, 2021)

ALittleNightMusic said:


> Well you're asking in a thread about character plugins...


Lol.. I should have paid more attention to the title of this thread. 

So, I am seeking a No-Character Plugin, and looking for it in the Character Plugins thread. My bad. 

Anyways, Yes, my studio is sound treated to be able to master, and I have other mastering plugins, but this one is unique. Went ahead, and got it.


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## jonnybutter (Aug 4, 2021)

muziksculp said:


> Lol.. I should have paid more attention to the title of this thread.
> 
> So, I am seeking a No-Character Plugin, and looking for it in the Character Plugins thread. My bad.
> 
> Anyways, Yes, my studio is sound treated to be able to master, and I have other mastering plugins, but this one is unique. Went ahead, and got it.


I’m the one who brought up the Weiss! I did it because the conversation had tangents, about mastering in general, stems, etc., not just character plugs. Yes, the Weiss is incredibly transparent. For character I use another Softube plug, the Drawmer, and also Waves Abbey Road mastering suite. I also like the Overloud tape simulator (sorry, ‘Tape Deck’?). [EDIT: ‘Tape Desk’!] Very interested in Kush’s new mastering eq.


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## muziksculp (Aug 4, 2021)

jonnybutter said:


> Very interested in Kush’s new mastering eq.


I have it, and it's amazingly good


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## CATDAD (Aug 4, 2021)

Klanghelm SDRR for saturation, and MJUC for bus compression when I want a character comp that is a little softer than an SSL-like one (variable-mu). Both plugs have parallel built-in, as well as VU meters and input trim to make sure you're getting an expected signal for analog modelling. They both have a few extra handy settings to soften/sharpen/fatten/thin out sounds further. 

I've been digging Black Rooster's Magnetite for tape lately too, but I'm not an expert with the insanely huge amount of tape plugins out there, and prefer to just stick to a few for the time being.


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## muziksculp (Aug 4, 2021)

CATDAD said:


> Klanghelm SDRR for saturation, and MJUC for bus compression when I want a character comp that is a little softer than an SSL-like one (variable-mu). Both plugs have parallel built-in, as well as VU meters and input trim to make sure you're getting an expected signal for analog modelling. They both have a few extra handy settings to soften/sharpen/fatten/thin out sounds further.


Yup. Both of those Klanghelm plugins are awesome !


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