Disprove workflow: compression and limiting on master bus

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    • #241702
      ,William
      Participant

      Hello people

      I just watched Disprove’s modernised workflow and loved this approach. I always overcomplicated things so much and it seems this was not necessary and killed the creative process which oftentimes happened for me in the past.
      My only question is; since he slaps on that limiter and compressor on the master bus while procuding ; what does he do to mix the tune? Do you just leave the limiter and compressor on the masterbus and when your done with the mixdown you also leave it on for the master or…? I’m a bit confused about it 🙂

    • #241897
      ,GENIE HQ
      Keymaster

      Good question, we’ll get Fabrizio on here in a bit to clarify…..

      • #241957
        ,William
        Participant

        Thank you 🙂

    • #245291
      ,Henry Birchall
      Participant

      bump

    • #246010
      ,Disprove
      Participant

      Hi Willam, Disprove here.
      Since it gives me extra color\character to the sound I usually tend to forget about the compression\limiting happening on the master and automatically try to work in harmony with it.
      So the compression on the master channel it’s pretty much already part of the mixdown, if that makes sense.

      For example at the beginning I don’t care about the levels and I start producing with most of the channels at 0db and the basic setup shown on the video. Once I get to that point where I can see the idea is actually becoming a tune, I start focusing on the mixdown wich is mostly adjusting the levels, basic equing, stereo widening and checking if everything sounds good in mono.
      Also I’m not for external secondary masterings and I think that sounddesign, mix and master has to be one and the same.

      So yes I might have to tweak the compressor and limiter sometimes but I leave them on the master channel from start to end 😉

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