If you're mixing albums for artists in some genres, maybe it doesn't).This is a continuation post to this discussion. Your mix needs to sound loud AND good (again - if you're doing genres where that matters. Yes a "great" mix will sound better than a "loud" mix when balanced but that simply doesn't happen in the real world. I know that a simple limiter will re-create that mix, I don't want to be adjusting things based on a non-limited mix, when I know it works. To be honest I rarely listen to my mix without the final limiter on, even though I send an unlimited mix to mastering (as well as the mix with limiter on). Though also every mixer may not be being honest.mostly these days, anyone who's mixing to "beat" a rough mix will be ensuring their mix will sound good when made "loud. It’s so true though, a great mix will always be preferable to a loud mix - for the sake of loudness. Re: loudness - it’s funny because that’s what almost every mixer I admire says too. My rough balance is already around the correct "loudness" - even if it's a bit muddy/out of whack initially. If you find something that is making your limiter work hard, then go back and check your balances and fix or put limiter on the individual channel to fixTrue, although I'm doing that pretty much from the start of the mix. I prefer applying width on individual tracks and to those elements that need it. Some songs need big width and some others are dryer and intimate. That's when no matter what tools I give you, you will make it sound the way you want itĪbout imaging, I don't a "set and forget" tool for it in the Mixbus, consistency doesn't necessarily mean every mix should sound the same, it should sound great by giving to the Mix what the song asks for. It's something you could know immediately by reading or just telling you, but it really takes time to learn it fully and adapt it to your own sauce and sound. Is it best to leave imaging work to individual tracks / groups?I've learned from those who I admire too. I’ve always wondered about this because on the one hand we want to achieve consistency in our mixes, while on the other hand, we’re getting different productions with imaging decisions already baked into the the arrangements. Just wondering what you think about using imaging enhancements within the context of a mix bus chain.
Is it best to leave imaging work to individual tracks / groups?
If you find something that is making your limiter work hard, then go back and check your balances and fix or put limiter on the individual channel to fixRe: loudness - it’s funny because that’s what almost every mixer I admire says too. That's when I start going to the meters, Limiter and Dynamics in my Mixbus Chain and looking if there is something triggering limiter too hot. Loudness is something Im aware of at the end, when I have the feeling that a Mix is almost done. When I mix I don't mix for loudness, I mix to sound good.
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