# What music master buss EQ and Limiter are you using or liking right now?



## Steve Steele (Jul 25, 2013)

What's your current favorite master music buss EQ and Limiter that you use or wish you had? Also what's generally in your master buss?

All in the box of course. 

Btw, I use DP8 which has some pretty nice stuff right now. It's got a new M/S eq, a phase aligner, and another good eq. 

I guess I should answer my own question huh? Well, don't know the first one, but my master music buss is

Waves LowAir
Waves HEQ
Limiter (I'm stuck with the L1 for just a little longer. So I tend to use Digital Performer's MW Limiter, demos - and I really liked the demo of the Vienna Suite limiter)
Waves C4
Various EQs or demos
Waves S1 (if needed) or some new stereo stuff I've tried out. 
Waves PAZ
Sometimes a final item. 


Things I wish I had or will get:

Vienna Suite. My demo just expired but I was very very impressed. My kind of plugins. Loved how the interface works. Sound was great and was always easy to dial in. Easy on the eyes. 

Fab Filter eq and limiter. Just downloaded the demo. Nice eye candy again. 

Waves L3 and their phase eq or multiband. 

Steven Slate FXG (once it's 64-bit)

Flux eq and limiter (just saw they are 40% off! Demo time! Man I hope that sale lasts for a minute. I just spent my last budget money for the month)

Flux and Vienna have a good shot at my first buy. 

Limiters: I've been checking them all out. I mainly want clarity and spatially neutral. Don't want an all in one like Ozone.

EQs: phase correcting. Clean, high quailty with good controls. Basically, just the right one. The new Waves RS56 might be great for one of the EQs. The controls are unique and that's good. I need to check that demo out. 

What do you guys like right now? What I'm I missing out on?

Thanks.


----------



## Chriss Ons (Jul 25, 2013)

I got the Fabfilter mastering bundle (Pro-Q, -C and -L), based on recommendations here at VI-C, and have to say those are really great sounding, versatile plugins. I believe Fabfilter still have a promo that lasts 'till next week.


----------



## Steve Steele (Jul 25, 2013)

Josquin @ Thu Jul 25 said:


> I got the Fabfilter mastering bundle (Pro-Q, -C and -L), based on recommendations here at VI-C, and have to say those are really great sounding, versatile plugins. I believe Fabfilter still have a promo that lasts 'till next week.



Do they sound as sexy as they look?


----------



## Lemmonz (Jul 25, 2013)

I love DMG's Equilibrium (EQ):

http://www.dmgaudio.com/products_equilibrium.php

There's so many options for EQ in this one plugin. The different circuit model options can really make a nice difference. Plus, you can mix and match those models in one instance. The option for M/S processing is nice not only for EQ'ing but also if you want to manipulate the stereo image. Really clean sound all around and doesn't kill my CPU no matter how many I've got going (although it has options for that so you can dial in better performance if need be). 

It's pricey for EQ (it's £174 but I think I might've picked it up for £129 when it came out) but I can use it for everything in the mix plus the master buss. It's more like a bunch of great EQ's wrapped up into one.


----------



## AndyV (Jul 25, 2013)

I often use the Massey Limiter. It's actually a free unrestricted demo with only limit that you can't save settings. Very transparent and easy to use. All of his plugins seem to be well regarded. I also want the Kush audio clariphonic, now in plugin form for its innovative parallel eq. Its really geared for that high end sheen. It is easy to overdo but sounds magical when used in small doses.


----------



## Chriss Ons (Jul 25, 2013)

nightwatch @ Fri 26 Jul said:


> Do they sound as sexy as they look?



...Fabfilter plugins come with a 30-day trial without limitations, so you can easily find out for yourself :D



AndyV @ Fri 26 Jul said:


> I also want the Kush audio clariphonic, now in plugin form for its innovative parallel eq. Its really geared for that high end sheen. It is easy to overdo but sounds magical when used in small doses.



Got that one on sale recently. Fantastic plugin, very intuitive + great results, and as you said it works wonders when used with moderation - although it is indeed quite easy/tempting to overdo. My only gripe with it is the annoying bug with the preset management, but I was told that should be fixed with a future update.


----------



## Lex (Jul 26, 2013)

Voxengo Gliss Eq
Voxengo LF Punch
Cytomic The Glue
Xfer OTT Comp (only on specific tracks)
Izotope Ozone 4, or Voxengo Elephant



alex


----------



## re-peat (Jul 26, 2013)

Josquin @ Fri Jul 26 said:


> (..) Fantastic plugin, very intuitive + great results (...)


I started with the hardware, and now also use the software version. Always. Day and night. Essential tool, I find. And it's particularly effective in sample-based productions which tend to sound, by nature, always a little boxy, entrapped, muffled and muddy. Not saying the Clariphonic does away with all that, obviously not, but it can improve matters spectacularly.

_


----------



## Martin K (Jul 26, 2013)

I use mainly Ozone 5 on my master buss. Sometimes the T-Racks Classic suite.

best,
Martin


----------



## Tatu (Jul 26, 2013)

Logic Pro's effects (Multipressor, Compressor, Linear Phase EQ, Adaptive Limiter, Limiter) and T-Racks Classic.


----------



## Blackster (Jul 26, 2013)

As EQ I often use the Manley Massive Passive from UA on the master bus. For limiting my stuff I either go with Barricade from ToneBoosters or the Precision Limiter from UA. Works great for me.


----------



## JohannesR (Jul 26, 2013)

nightwatch @ Fri Jul 26 said:


> Steven Slate FXG (once it's 64-bit)



It is 64-bit. Awesome plugin. I have had particularly good results on rock tracks that need to be loud. It is definately not a do-all plugin.


----------



## maestro2be (Jul 26, 2013)

I use Vienna Suite and love it. I own many more but find them the easiest and best to use for me.

Maestro2be


----------



## wst3 (Jul 26, 2013)

This probably goes back to my early education, but I don't use a lot of processing on the 2-mix, unless I'm looking for a specific effect.

When I do...

I use either the Maag EQ or the UA Cambridge, or sometimes the Waves Parametric. I do use all sorts of equalizers at the channel level, and I try to set them so that the final balance on the 2-mix is what I want. I don't like to cascade equalizers, it makes things too complicated<G>!

It is becoming more common for me to put a multi-band compressor on the 2-mix, sometimes in place of the EQ even. I do not, generally, worry about final levels while mixing. I leave that to the mastering engineer, even if it is me<G>!

Sometimes, for a specific effect, I will put an SSL style buss compressor on the 2-mix. It is a very distinctive sound, and sometimes it is just what the doctor ordered!


----------



## Steve Steele (Jul 26, 2013)

JohannesR @ Fri Jul 26 said:


> nightwatch @ Fri Jul 26 said:
> 
> 
> > Steven Slate FXG (once it's 64-bit)
> ...



It's still 32-bit for OSX. I've been told that it's one of the more transparent limiters, and I read how it applies different algorithms for different transients. I'm wondering if there are any noticeable artifacts from that. The site also says that it's "so clear" that any comp or eq flavors should be added before? Do you agree with that and is that why you say it's not a do all limiter? Or is it based on musicial styles that you like to use it in? 

It seems like what they're going for is to get as loud as possible in an already loud rock mix but stay transparent and not squashed. Is that right?

Is it good dealing with space? Big wide rooms that at times are pushed a bit? I tested the L2 recently and it's everything I don't want. 

I wouldn't mind having a final limiter that excels with both loud rock music (that has some deep low end) and also has a lot of orchestral moments that are inside large concert hall spaces. 

The explanation of FXG sounds like it could do that. Any thoghts? Thanks!

I'm just waiting on the 64-bit version before I demo it.


----------



## Madrigal (Jul 26, 2013)

This one is a freeware and it sounds very nice: 

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

I've used it on a couple of projects and was never disappointed.


----------



## dgburns (Jul 26, 2013)

FGX is pretty good overall,but it is not a fix all.I find to me,I get the best results if I work the individual tracks more and go real easy on the 2 bus.
These days I've been using the slate mix bus,usually set to ssl or neve,followed by an ssl g channel by waves(go figure)and followed by the ssl comp finishing with the fgx.
I find I try to get the mix as done as possible before applying anything.Then I turn them on one after the other.So Mix bus first,and g channel next.I sometimes add a touch of lift in the md high and highs as well as even rolling off some of the lows,around 70 hz or so.Just turnng on the ssl g I get a bit of colour right away.Same thing with the ssl comp,which I don't use more then a few db reduction.keep in mind i go out through a neve,and cause I have a big ben clock,I get a bit more low end then I sometimes want because the sound of the clock gets printed by going out the converters.
What I send into the fgx is pretty moderate,so I start by turning on the level compensation button,which allows you to hear the sound at the same level as the original.this is great cause you can hear how far to go before the sound breaks up.And you can def hear when the sound starts to break up and distort.This is usually the time I can tell how good my work has been up to this point in getting the mix right.If I can push it hard and it survives the push,then I did the mix right.I usually end up with 6 to 8 db of gain.I don't usually use the comp in fgx.If you take the time to setup your mix,you can get it stoopid loud(if that's what you want) and it'll survive the lift.I'm ok with a mix that cruises around -10 .I don't need to kill the drums for the sake of volume.
of course this is only for stuff that needs to go the 0dbfs levels,like rock or whatever.
david


----------



## Steve Steele (Jul 26, 2013)

maestro2be @ Fri Jul 26 said:


> I use Vienna Suite and love it. I own many more but find them the easiest and best to use for me.
> 
> Maestro2be



I thoroughly enjoyed using Vienna Suite. The interface design, especially on the hybrid reverbs. They almost taught me how to use them. Felt very comfortable getting around them and dialing in the sound. The Exciter was especially effective and I rarely use those. The EQ, analyzer were great, as was the multiband. I don't remember the others as much. 

But, Vienna seemed to sound fantastic, top notch. Clean and clear. Great for orchestral. I suppose for samples. 

On top of that that sweet translucent aqua blue color is nice on the eyes. They just looked so modern and serious. 

I'm definitely buying them. Some of them will probably be my "go to" plugs. Glad you liked them too. 

Just want another eq and limiter to go with them that do something different.


----------



## Steve Steele (Jul 27, 2013)

wst3 @ Fri Jul 26 said:


> I do use all sorts of equalizers at the channel level, and I try to set them so that the final balance on the 2-mix is what I want.
> I don't like to cascade equalizers, it makes things too complicated<G>!



Yeah, this is what I've been ending up with recently too. It just works. I don't like cascading eqs either. I'm probably just not good enough to even try. :D 



> It is becoming more common for me to put a multi-band compressor on the 2-mix, sometimes in place of the EQ even.



Again, same here. The only decent multiband I have right now is the Waves C4 and I use it as a default. I'd like to try a different multiband, and there are a couple I'm looking at, buy I learned on the C4. The Vienna Suite one was nice while I was able to demo it. I feel pretty comfortable with multi bands. Lately, it's been that, a freq. analyzer and sometimes something to finish what's missing.



> Sometimes, for a specific effect, I will put an SSL style buss compressor on the 2-mix. It is a very distinctive sound, and sometimes it is just what the doctor ordered!



Interesting. Haven't tried it. Any other buss comps? What about the Waves version? Tried it by any chance? 

Thanks for the education!


----------



## Steve Steele (Jul 27, 2013)

re-peat @ Fri Jul 26 said:


> Josquin @ Fri Jul 26 said:
> 
> 
> > (..) Fantastic plugin, very intuitive + great results (...)
> ...



Downloaded the demo. Got to be creative, and careful with this one. Love the specs. I'm going to try it on different busses. We'll see. Everyone raves about it. Not that these are the same, but the talk of wanting more reminds me of the BBE box more than a decade ago.

Your point about samples sounding boxy is a good one. I'll keep that in mind. Strings and piano come to mind. Maybe winds too.


----------



## wst3 (Jul 27, 2013)

nightwatch @ Sat Jul 27 said:


> wst3 @ Fri Jul 26 said:
> 
> 
> > I do use all sorts of equalizers at the channel level, and I try to set them so that the final balance on the 2-mix is what I want.
> ...



Nope... not a case of good enough, or even the gear being good enough. Filters work by delaying part of the signal so that it cancels itself out - ok, that's the really short version<G>, and in the digital domain there are other approaches, but that's the basic idea.

So when you cascade filters you can get interactions that you may not have anticipated. Way back when Valley People made a most interesting parametric EQ (called Maxi-Q) which combined the bands in parallel instead of series. It makes a difference... but of course back then it was nearly impossible to determine if the difference was the circuit design in general or some specific feature thereof.

But I digress<G>...

So when you cascade multiple filters, and probably especially from different designers, you can get fantastic results, or mud, and in my experience it is a lot easier to get mud.



nightwatch said:


> wst3 said:
> 
> 
> > Sometimes, for a specific effect, I will put an SSL style buss compressor on the 2-mix. It is a very distinctive sound, and sometimes it is just what the doctor ordered!
> ...



Give it a try, especially on something with lots of transients! You'll immediately recognize the effect.

I use the UA model of the SSL, or their own precision buss compressor, and I haven't felt the need to try a lot of others since I like them. If I did not have the UAD2 cards I'd probably start with the Waves buss compressor because I like their plugins.

Oh, you commented earlier about learning on their C4 compressor. That is a fantastic compressor, and in addition to sounding great, I've found nothing better to use as a demo when trying to explain how dynamics processors work. Great choice!


----------



## Ron Snijders (Jul 27, 2013)

My quick two cents on the SSL G-style compressors. Cytomic's The Glue is getting a lot of praise lately, though I have to admit that I'm hearing that mostly from pop and electronics producers. I like it on just about everything myself, it's lovely for making a piano sound just that bit bigger, for example 
And it's cheap, too :mrgreen:


----------



## ceemusic (Jul 27, 2013)

I've been using this chain setup for a while-

Clariphonic
[sometimes buss comp: VBC, API 2500, PSP Busspressor, FX-G, SSL, Softube Summit]
DMG Equlibrium / Nebula EQ's
[sometimes VTM, Nebula tape emus]
FF Pro-L Limiter


----------



## jamwerks (Jul 27, 2013)

Anybody using the new Slate VBC? There's an SSL, Red3 & Manley Vari-Mu emulation.


----------



## ceemusic (Jul 27, 2013)

Yep, see my post above yours...

It's interesting using the 3 models in combination & getting very nice results. I use it on my drum buss as well.


----------



## Steve Steele (Jul 27, 2013)

wst3 @ Sat Jul 27 said:


> nightwatch @ Sat Jul 27 said:
> 
> 
> > wst3 @ Fri Jul 26 said:
> ...



Fantastic info Bill. One other thing. What about something like the Waves Linear Phase Equalizer or Linear Phase Multiband Compressor after other EQs? Would that not make a difference, if it was the second and last type of eq used? Supposedly they don't change whatever phase relationships arrive at that point?

Thanks again!


----------



## Steve Steele (Jul 27, 2013)

I see some people are using VTM near the end of the chain. Is this an attempt to sound like you're mastering to 1/4" tape? Or, (basically the same thing), either slight broad compression and to add odd harmonics to the finished sound? Or maybe as way to smooth out down sampling or something along those lines? Just guessing on that one.

Any atypical preferences on settings? Or just traditional 1/4" tape? Bias change (my guess for this group is a high bias)? 

Thanks.


----------



## ceemusic (Jul 27, 2013)

Yes, when I use the VTM for mastering it's placed last in the chain right before the final limiter.
It gives the last bit of final compression & harmonics.

My default preset for mastering is:
30 ips, normal bias
1/2" 2 track , FG9
-2 / -4 bass align


----------



## Steve Steele (Jul 27, 2013)

ceemusic @ Sat Jul 27 said:


> Yes, when I use the VTM for mastering it's placed last in the chain right before the final limiter.
> It gives the last bit of final compression & harmonics.
> 
> My default preset for mastering is:
> ...



Thanks ceemusic. I haven't used the VTM as a 1/4' mastering plugin very often which is odd because I always request that the engineer I work with to mix to 1/4" before sending to master. I'll look into it.

I have the Kramer too. Interesting machine for gritty mixes but I'll do some A/B anyway. I normally just use that one for fx.


----------



## Steve Steele (Jul 27, 2013)

Btw everyone, I'm really enjoying this thread and trying everyone's suggestions. I've downloaded all of the demos I can, and have been reading up on the specs. So I appreciate any and all input, mentions of alternate chains, or even hardware, etc..


----------



## Jem7 (Jul 28, 2013)

I'm using Cytomic The Glue, IK Multimedia T-Racks all the time on master bus.


----------



## woodsdenis (Jul 28, 2013)

Waves NLS
Fabfilter Pro Q
Glue
Waves API comp
Waves C 6
Waves Kramer Tape
Clariphonic
Fabfilter ProL

The only ones that are constant are the NLS, C6 and the ProL. All others are program dependant.


----------



## Steve Steele (Jul 30, 2013)

Josquin @ Fri Jul 26 said:


> nightwatch @ Fri 26 Jul said:
> 
> 
> > Do they sound as sexy as they look?
> ...



Man, you were spot on. I got the FabFilter Pro-Q after really looking at what it can do and demoing it (the youtube demos were entertaining as heck to watch too). The Kush Clariphonic and MAAG EQ4 are next on my list. Good calls.


----------



## Steve Steele (Jul 30, 2013)

woodsdenis @ Sun Jul 28 said:


> Waves NLS
> Fabfilter Pro Q
> Glue
> Waves API comp
> ...



That's a pretty good list. Been thinking about the NLS. How are you getting on with the Waves Kramer? I guess you like or you wouldn't have mentioned it. I've thought about getting the C6 countless times. When a sale comes I'll demo it. Demoing The Glue right now.


----------



## woodsdenis (Jul 30, 2013)

nightwatch @ Tue Jul 30 said:


> woodsdenis @ Sun Jul 28 said:
> 
> 
> > Waves NLS
> ...




Kramer is great for tape comp sim, sometimes it works and sometimes not, usually best for uptempo beat orientated stuff.

Actually Clariphonic is a must have, a little goes a long way, brilliant plugin.
The ProL is the best limiter I have come across recently.

I think the trick in mastering is to just have everything just kissing the meters.
There are exceptions, as in dance music but that what seems to work for me.


----------



## nickhmusic (Jul 30, 2013)

I use the Sonnox EQ, Dynamics and Limiter on my master buss.

Usually sits there doing some bread and butter stuff, a 1-2dB cut at around 200-200hz, some ultra low end roll off.

Then into the Dynamics, where it's just compressing some of the big heavy hitters, and peaks - but no more than 1dB or so as it affects the mix too much for my taste, particularly with orchestral cues.

Then into the Limiter, where I use it for Gain, and occasionally some Enhance, which in the right circumstances can give me just that little bit of extra grit or substance.

I absolutely swear by these plugins. Totally transparent, reliable, and with the option to get dirty if need be.


----------



## Nick Batzdorf (Aug 5, 2013)

The Glue is really great.


----------



## davidgary73 (Aug 6, 2013)

EQ - Nebula Manley Massive Passive or Clariphonic EQ. 

Compressor - Nebula Neve 33609 or Drawmer 1968 or Neve 5043 Compressor. 

Limiter - Sonnox. 

Tapesim - Nebula Ampex ATR 102 or Studer A800.


----------



## chimuelo (Aug 6, 2013)

I have had the same EQ for years now and can't find a better plug for the 2.1 style of mixing I prefer.
Brainworx BX Digital V2.

http://www.brainworx-music.de/en/plugin ... lpvi2g2n83

For Buss EQ I need to seperate the low end mush from stereo sampled instruments.
BX Digital has a Mono Maker feature that turns stereo signals into mono from a chosen cutoff frequency. Anything under that point becomes a Mono siganl and really gives me better focus for placement of low end signals.


----------



## Luca Capozzi (Aug 6, 2013)

Elysia Alpha Master
Maag EQ4
Waves Q10
Limiter6


----------

