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You’ll hear the term “glue” thrown around a lot in discussions about modern music mixing. There’s no law against getting your mix to cater to the mix buss processing if something really great is happening there.➥ Mixing Pop with Ian Vargo is available now Sometimes you get something really cool going on the mix buss, but it effects the balances or a single element in a negative way. What’s important is that you don’t cause any unwanted clipping along the way.ĭON’T: Be afraid to adjust something within the mix as a result of your mix buss processing. In the digital world, how much room isn’t so important. That’s still a conscious choice you as the mixer get to make, and it’s as valid as anything else.ĭO: Try to leave yourself a little bit of headroom before processing. Experimentation is the key.ĭO: Consider that your mix buss might not need any processing at all. Even a touch of limiting can sound good if you do it thoughtfully. My only caution would be that whatever you do is effecting everything, so little moves tend to go much further. There’s no rule against using compression, EQ, saturation, an imager, excitement, mid-side processing, multiband compression or whatever else you may want. Listen to things like groove, cohesion, dynamics, and balance - because compression can effect all of those for better or for worse.ĭON’T: Hold back on choice of processors. There are many ways to set a mix buss compressor and it’s worth getting your ear around them. It’s an invaluable tool that can turn an unusable compressor into the best sound you’ve heard.ĭO: Experiment with your attack and release times on compression as well. Automating song sections or transitions to move up or down in subtle amounts (think 0.5db increments) can add a great deal of impact and help keep the listener engaged.ĭO: Learn the power of a sidechain filter on mix buss compression. Processing designed to make playback levels louder often come with compromises and will handcuff your mastering engineer’s ability to do their job.ĭO: Automate your mix buss level fader.

That includes mix buss processing! However…ĭON’T: Put on processing for the sake of making the record louder if you are sending your mix to be mastered. It’s your record - make it sound how you want. What do we do with this stereo channel? Do we leave it untouched? Do we “master” our own record? How much headroom should we leave? If you’re new to navigating the mix buss, or a veteran looking for some fresh perspective, here’s a list of do’s and don’ts that should open your eyes to opening those ears!ĭON’T: Rely on your mastering engineer to finish your record. We have all these tracks in a recording - guitars, bass, drums, vocals, synths, samples, whatever - and they all come down to a single stereo channel called “the mix buss”.