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My GO TO…Mix Bus: Three Pros Share Their Secret Weapons

October 5th, 2014 by Zach
McNees

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In this edition of the GO TO series, we’re focusing on the big picture.
Specifically, your mix bus or master
fader as it relates to mixing music.

Whether you’re mixing on an analog console, in the box (ITB) through your DAW
or a hybrid of the two, the one constant from project to project will often be
your mix bus. Every engineer has a unique chain of gear they rely on for their
mix bus and a unique workflow for how they attack their mixes when it comes to
the final master fader.

Joining us to discuss are veteran mixers Nadim Issa from Let
Em In Music in Gowanus Brooklyn, Hip-Hop specialist Paul
“Willie Green” Womack and the legendary Frank Filipetti who mixes primarily
out of his facility in West Nyack, NY.

Pay close attention and you may be mixing in a sweet
spot like Frank Filipetti’s — The Living Room. More on that later on… (Photo
credit: Zach McNees)

Over the past decade, the technology for ITB mixing has grown immeasurably
thanks to huge leaps in 64bit DAW technology and an ever expanding list of world
class plugins. Once thought to be vastly inferior to analog console mixing,
working ITB has arguably become the preferred way to mix for even the most
seasoned veteran mixers.

For me, ITB mixing has always been about saturation and harmonics. That goes
double (literally) on my mix bus. I will say that when it comes to the master
fader, I am a creature of habit. Out of the five plugins that normally live on
my mix bus, only a few things get tweaked regularly from song to song. The rest,
are simply a reliable chain of gear that provide unique sonic enhancements that
I mix through right from the start.

So what is my mix bus chain? See for yourself!

Zach McNees lays out his personal mix bus (click to
enlarge)

My typical chain:

Slate Virtual
Console Collection

I love the VCC. It’s my first line of defense sonically and gain-stage wise
for sculpting my tracks. I tend to use the different consoles on a
channel-by-channel basis depending on the sound of the track. Some consoles like
the Ψ (Trident) really push the top end crunch while others like RC Tube provide
a very warm and rolled off sound. More on the VCC in my Sonicscoop
Review.

Slate Virtual Tape
Machines

The first listen to VTM on my mix bus was a huge WOW moment for me. VTM is
doing some truly amazing things to the low end on my mixes for that really sub
harmonic thump. I typically work in ½” 2 Track mode at 30 ips with FG9 tape
type. Depending on the track I might work a little on the gain staging with the
input and output knobs. I typically work at around 1.5 to 2dB of input gain on
VTM.

Waves
JJP Collection EQP-1A This is a very subtle top end boost. I tend
to like the way the 12K boost sounds on the JJP Pultec more than most EQ plugins
I’ve heard. It’s very musical sounding.

Slate
Virtual Bus Compressors (typically the FG-RED)

This is the newest edition to my mix bus chain. Once again, spot-on
replication of some truly classic hardware units. I just love how the FG-RED
compressor glues my mixes together. I always mix through my compressor from the
very start. My gain reduction VU meters in VBC rarely hits 3. I’m usually
compressing very lightly on my mix bus to just help blend everything together
nicely while retaining dynamics.

Izotope Ozone
5

More on Ozone below.

Massey
L2007 Used only in the reference phase for clients to provide
a close to mastering level mix without doing anything damaging to the
dynamics.

Of all the plugins on my mix bus currently, the one that provides by far the
most sonic enhancement to my mixes is Izotope Ozone 5. My use of Ozone focuses
primarily on EQ, Harmonic Exciter and Stereo Imaging modules. The harmonic
exciter is in “Tube” mode crunching mostly the high and mid band with slight
coloration in the low end. The same relative processing per band is used in the
stereo imaging module to spread the high end and the mid range slightly adding a
more exciting feel overall to the mix.

I’m a huge fan of Ozone. I really can’t mix without it these days.
It adds so much to the overall sound of my mixes to glue everything together
harmonically. I’m always a little terrified at what my mixes sound like when I
bypass Ozone on the mix bus.

But enough from me! Let’s see how some of our veteran mixers are treating
their master fader…

Nadim Issa

Nadim Issa of Let ‘Em In.

First up is Nadim Issa, producer/engineer extraordinaire and owner of one of
my favorite studios in NYC, Let Em In
Music in Gowanus Brooklyn. Nadim is currently working on the second full
length for Lady Lamb the
Beekeeper and just finished up producing and engineering the upcoming Pearl
and the Beard album “Beast”. Other recent projects include Sophie Madeleine and
Ingrid Michaelson and the spectacular debut album from Lady Lamb the
Beekeeper.

Nadim is also a completely ITB mixer who works exclusively in Logic. A
typical mix bus chain for Nadim looks something like:

Brainworx
bx_digital EQ

UAD
SSL G Buss Compressor

UAD
Ampex ATR-102 Mastering Tape Plugin

Waves L2

On mix bus technique: “For me, processing on the mix bus is
about breathing a little more life into the mix, making sure it moves properly
and has cohesion. I try not to leave too much to the imagination of the
mastering engineer. If there’s anything I can think of that might make my mix
sound better by processing the 2 bus, I will go ahead and try it.

As such, I might employ one or two layers of compression, EQ, stereo widening
or narrowing, reverb, tape plugins, etc. I stop short at heavily limiting the
bus. In fact I normally just use a Waves L2 plugin as a safeguard to avoid
clipping the bus here and there. Occasionally, I’ll crank the L2 just to hear
what that would sound like, but I don’t ever mix into it like that.”

On the mix bus chain: “The Brainworx bx digital EQ is a
fairly new one for me. I find that a little tweaking goes a long way with this
plugin. It is an extremely handy and multifaceted tool that I’ll often use to
stereo enhance the mix thanks to its mid-side processing. I tend to be
light-handed with my mix bus EQ-ing. I’ve always been conservative about
brightening up my mixes, preferring to leave that up to the mastering
engineer.

However, the high shelf on the bx digital is not at all harsh to my ears and
as a result I’m comfortable doing some brightening myself.  I’ll often
brighten up my sides more than my mid. The ability to solo the mid, the sides,
and whatever band your EQing is brilliant. I’ll play around with adding and
cutting bands and based on what the bx reveals I find myself going back to EQ
individual tracks as a result. The mono-maker knob, which makes everything below
a designated frequency mono, can be nice for cleaning things up a bit and
avoiding having bass-heaviness on either side. The de-esser is stellar as well
when encountering some harshness.”

On Dynamics: “For compression, I often use UAD’s SSL G bus
compressor plugin. I find it helpful to think of compression in terms of
movement and rhythm. I like to visualize sounds pumping out of my speakers and
how the sounds grow and shrink as a result of the compression and the
attack/release settings being used. The compression should absolutely be musical
and groove with the music.

I love the UAD SSL G because it’s versatile. I can coax the right feel and
movement regardless of the material. To settle on the right compression ratio,
attack and release settings, I’ll over-compress a mix so that the rhythm of the
compression (again, what I call “movement”) is easily perceived and then I’ll
back down on the threshold so that I’m typically compressing anywhere from 1-4
dB, with 4 dB being fairly aggressive for me. On very dynamic material, I’ll
often use the SSL G plugin or the UAD 1176 Rev E plugin on a parallel bus in a
more aggressive fashion. I find I get fuller-sounding mixes that way. I should
also add that my compressor is on the mix bus very early on in the mixing stage.
It definitely informs my mixing decisions.

The Universal Audio Ampex ATR-102 mastering tape
plugin is the “intangible”.

The UAD Ampex ATR-102 is one of those intangibles for me. I like to try it on
every mix. I’ll normally just adjust input/output levels and choose the 15ips
setting but sometimes I’ll cycle through presets. More often than not, I’m
pleased with what I hear and I stick with it. I must admit, I feel a little
sheepish using it because it feels like I’m buying the snake oil, but damn it,
somehow the mixes seem just a little fuller. The low end seems to become a
little beefier while still being compact and the top end seems to be smoother. I
can’t help it, this one ends up on the mix bus frequently.”

For the record, I couldn’t agree more with Nadim’s statement in regards to
Tape Plugins. I always felt skeptical, but damn if they doesn’t do some amazing
things on the mix bus!  Thanks Nadim!

Paul “Willie Green” Womack

Next up we have Paul “Willie Green” Womack. Paul is a Brooklyn based hip-hop
and R&B producer, engineer and mixer. Recent credits include Wiz Khalifa,
Armand Hammer and Donnie McClurkin. Currently, Paul is working on new projects
for singer-songwriter Barrie McLain, rapper Curly Castro and his own solo album
called “Doc Savage”.

Paul “Willie Green” Womack

“I have a bit of a hybrid setup.” Paul explains, “I’m working in Cubase
7.5, mostly in the box (including summing) but also with a bunch of rack gear. I
love old dbx compressors and weird distortion boxes. Plugins are great for all
the regular needs, but when I’m looking for character, I tend to reach for a
real knob”.

On the mix bus chain: “Every mix I’ve done in my studio in
the past year has had Waves
NLS (console emulation) and an ART
Pro VLA II (compressor) on the mix bus. I’m currently in love with the
“Spike” API setting on NLS. It has a great midrange and really pushes things
forward. I love the low end of the “Mike” (TG/EMI) console, I use it on drums a
lot. The trim tool (in NLS) is really convenient for controlling the mix level
before it hits my bus compressor. I also use the drive feature a good deal,
usually on the more subtle side, but I mix a lot of aggressive music so
sometimes I’ll crank it a little bit.

The ART Pro VLA II is always on Willie Green’s mix
bus.

The Pro VLA II may not be an expensive boutique piece, but the feature set
and performance is unmatched at this price point.” EQ wise, Paul rarely if ever
uses EQ on the whole mix. “I feel like I lose perspective of my tracks and wind
up throwing off everything I’ve done” he says.

On mix bus technique: “I tend to compress a lot within my
mix, so by the time I hit my mix bus compressor I’m just barely tapping it. I
keep my threshold high and my ratio low and really just use it to glue things
together. The biggest key to compressing your mix is to mix into the compressor
from the beginning of the mix. If you try to add it later on it can really screw
up your balance.  Also it helps to listen quietly when adjusting. If your
mix is blaring it’s really tough to tell if you’re over-compressing or if it’s
just your ears telling you to turn down!”

Great advice, thanks Paul!

Frank Filipetti

Finally and certainly not least, I spoke with six-time Grammy winner Frank
Filipetti at his facility The Living Room is West Nyack, NY.

Frank Filipetti mixes 100% ITB — here’s
how.

Frank’s work includes some of the best and most diverse artists in music with
a discography that ranges from Dolly Parton to Korn and everything in between.
Past work includes Carly Simon, Elton John, Billy Joel, Foreigner, Madonna, Paul
McCartney and James Taylor whose “Hourglass” album won Filipetti two Grammys in
1998 for Best Engineered album and Best Pop Album. More recent work includes the
gorgeous Steve Martin and Edie Brickell album “Love Has Come for You” and the
upcoming live recording of Frank Zappa’s 200 Motels recorded at the Walt Disney
Concert Hall in LA which Frank produced and is currently mixing.

Frank is credited with being one of the early adopters of digital audio
technology. These days, although his studio is filled with the choicest pieces
of analog gear which are still a huge part of the tracking process, as far as
mixing is concerned his setup is 100% in the box.

“The new Neve emulations from UAD are so good, I don’t even go out there (to
the racks)” Frank says. “I have more chances of crackles, pops, all kinds of
issues.” As we explored the track layouts in various sessions of pop, rock and
orchestral live recordings, it’s clear that Frank is still a huge fan of the
“old school” gear like the LA-2A,
Neve
modules, AMS-RMX, the MXR
blue and many others…but all in plugin form!

Frank is working in Pro Tools 11 HDX with the DCommand console at the helm.
Under the hood, his mix sessions are set up and printed at 32bit
float.

Here’s where Filipetti gets his perspective — The
Living Room, in West Nyack, NY. (Photo credit: Zach McNees)

On gain staging: “I keep all my mix buses reasonably
comfortable (level wise). Part of the issue for me is sorting out the gain
staging. Every time you use parallel processing you’re adding 6dB to the signal,
so you gotta be careful about what’s at zero and what’s not at zero. At 32 bit,
I don’t have to worry about it (the headroom) as much”.

The layout of a typical mix for Frank includes a great deal of sub-bussing
tracks. That is, drums, vocals, guitars etc. all get grouped into aux return
busses. Those busses in turn feed up to six sub-mix busses which all process in
parallel with each other to the final master fader.

As a disclaimer for his in-depth explanation of his mix bus chain, Frank
explained: “I’ve always had a mindset that knowing what someone does is not
nearly as important as why they do it. One size does not fit all. Engineering is
as much an art as a science and as you know, art is mESsY (Frank’s slogan).” So,
with that in mind…

Frank’s mix bus (click to enlarge)

On the parallel sub-mix busses:

“TRASH bus: I use either the Devil
Loc Deluxe, the McDSP
Futzbox, or the UAD
Thermionic Culture Vulture (which despite being amazing is a bit of a
resource hog).

The CMP (compression) bus: I use Waves
Bass Rider for riding the gain into the compressor followed by the McDSP
Channel G EQ into the UAD
Fairchild 670. The parallel compression bus typically gets smashed a good
deal with the 670.

SMX: (main stereo sub) A touch of incredibly delicate
limiting with the Sonnox
limiter (more for safety than sound), into the Waves
J37 (if needed) followed by a touch of UAD
Pultec (top end). I used to use the Slate VTM, but the 64 bit version
doesn’t sound quite as good to me as the older 32 bit.”

SMX2: (main stereo 2) I use the UAD
K-Stereo to boost the ambience (again, if needed) and add a bit of widening
using the m/s portion of the device. Finally, this gets a dose of the Sonnox
Inflator. This is the most “processed” of the busses and is used, hopefully,
discreetly.

Finally, I have two delay busses. These are usually a delay and a reverb. The
delay is most often the UAD
Cooper Time Cube and the reverb is any very short, very tight room
simulation to add to the overall mix. These last two are feed via sends. The
delays work great for band and strings, but not so much for vocals and
drums.

These busses are all in parallel and thank heavens for the new Pro Tools 64
bit mix engine. The delay compensation is spot on.”

On the final mix busses:

“The MixM Bus is strictly for the artist. It’s a pumped up
version of the mix. So I use a compressor like the UAD
33609, or LA2A
for some final mix compression and the UAD
Precision Maximizer for level…usually about 3db of gain.

“A thing of beauty” — the UAD Shadow Hills
compressor.

Mix Bus is my final “mix” stage and what is sent to
mastering. Here, I add whatever color I’m missing to the overall mix. For this I
rely on the UAD
Shadow Hills Compressor. This is a thing of beauty. Using the Iron, Nickle,
and Steel buttons can totally change the sonic splendor of the mix. That is
usually followed by the iZotope
Ozone 5. Here I add EQ, multi-band compression and occasionally, harmonic
content. This is followed by the Sonnox
Dynamics where any final limiting or side-chaining is done. I’ve also just
received the new UAD
Elysian MPressor and if initial trials bear out, this will definitely find
its way to my mix bus.”

On compression and dynamics: “I’m trying not to compress the
mix. I like to have dynamic range. If I need to slay it, what I generally do is
just bring up the compressor bus. If later on, the mastering engineer needs to
compress it, go ahead!”.

Frank’s mixing techniques in the box were fascinating for me to see as
they’re quite different than my own workflow in terms of plugin use and
sub-mixing. It’s great to see so many different engineers using the DAW in a
myriad of different ways across many different genres of music — achieving such
great results in the box!

Clearly, every mixer has a unique way of working when it comes to the mix
bus. As Frank mentioned, it’s important to understand not so much what an
engineer is using, but why they’re using it! Take some of these great ideas and
try to assimilate them into your own mixes in a way that best suits how you
work!

My thanks to Nadim, Paul and Frank for being fantastic participants in our GO
TO mix bus breakdown!

Zach McNees is a Brooklyn-based producer/engineer/mixer and live
recordist who’s worked with Björk, Rob Thomas, Julia Nunes, The Gregory
Brothers, Pixies, Liars and Alice Cooper. Get in touch with Zach via http://www.zachmcnees.com/.

Multi-Page

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Is Pro Tools Certification Worth It? 3 Great Reasons (and 3
Terrible Reasons) to Take a Training Course

categories: Gear Reviews, Gear Roundups, Most Popular, Tips & Tutorials

tags: Frank Filipetti, how to mix on the mix bus, how to mix on the stereo bus, mix bus, mix bus chain, Nadim Issa, Paul "Willie Green" Womack, plugins, Zach
McNees

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DPrty

Great article. More like this one please.

Zach McNees

Thank you! I’m always open to suggestions on future GO TO ideas!

Glenn Brown

NLS Spike is a SSL4000G and not a API but is right about the flat respons
as compared to the EMI and Neve……

ex3

The Waves NLS is on sale right now too for $99. Here’s a coupon link for an
extra 10% off too! http://refer.waves.com/bi5lS

Bones Howell

I would have liked to see more discussion with mixers who work completely
out of the box when it comes to 2 buss. kind of depressing to see how many pro
engineers are using a bunch of plug ins.

VictorSpoilz

Great article, thanks. Food for thought. The moral of the story is: do what
works for you but tread lightly is always a good
watchword.

Scooptacular Giveaway!

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