I try not to leave too much to the imagination of the mastering engineer. 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. A typical mix bus chain for Nadim looks something like: Nadim is also a completely ITB mixer who works exclusively in Logic. Other recent projects include Sophie Madeleine and Ingrid Michaelson and the spectacular debut album from Lady Lamb the Beekeeper.
WAVES NLS VS SLATE VCC FULL
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”.
I’m always a little terrified at what my mixes sound like when I bypass Ozone on the mix bus.īut enough from me! Let’s see how some of our veteran mixers are treating their master fader… Nadim Issaįirst up is Nadim Issa, producer/engineer extraordinaire and owner of one of my favorite studios in NYC, Let Em In Music in Gowanus Brooklyn. It adds so much to the overall sound of my mixes to glue everything together harmonically. I really can’t mix without it these days. 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. The harmonic exciter is in “Tube” mode crunching mostly the high and mid band with slight coloration in the low end. My use of Ozone focuses primarily on EQ, Harmonic Exciter and Stereo Imaging modules. 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. Massey L2007Used only in the reference phase for clients to provide a close to mastering level mix without doing anything damaging to the dynamics. I’m usually compressing very lightly on my mix bus to just help blend everything together nicely while retaining dynamics.
My gain reduction VU meters in VBC rarely hits 3. I always mix through my compressor from the very start. I just love how the FG-RED compressor glues my mixes together. Once again, spot-on replication of some truly classic hardware units. This is the newest edition to my mix bus chain. Slate Virtual Bus Compressors(typically the FG-RED) I tend to like the way the 12K boost sounds on the JJP Pultec more than most EQ plugins I’ve heard. Waves JJP Collection EQP-1AThis is a very subtle top end boost. I typically work at around 1.5 to 2dB of input gain on VTM. Depending on the track I might work a little on the gain staging with the input and output knobs. I typically work in ½” 2 Track mode at 30 ips with FG9 tape type. VTM is doing some truly amazing things to the low end on my mixes for that really sub harmonic thump. The first listen to VTM on my mix bus was a huge WOW moment for me. 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. I tend to use the different consoles on a channel-by-channel basis depending on the sound of the track. It’s my first line of defense sonically and gain-stage wise for sculpting my tracks.
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