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Honesty, communication and understanding are the best policies when mixing a record – both with yourself and any other parties involved if you’re working with a team. Make notes of why you may like one over the other, and let that be known to other people you show if you’re seeking feedback. If you’re unsure if it’s helping the mix, or if it will tie the mastering process down, print two versions one with and one without. Ahead of mastering, you want your best presentation of the mix – one that you’re proud of and that you can honestly say represents the music in its best light, so if you need to use a mix bus to do that, so be it.Īs the saying goes, if it sounds good, it sounds good. If it helps you tell the story of the mix better, I’m all for it being left on. Here’s my take – the mix bus is a channel of audio in your mixing session, therefore the freedom to process it improving the connection and overall sound of your mix is fair game. People who mix into a processing chain often see it as part of the their style as a mixing engineer, imprinting a sonic character that sounds like ‘them’.Īs a mastering engineer who works with the two-track (stereo mix) supplied, I’m often asked what my thoughts on mix bus processing are – questions like whether or not engineers and producers should leave that processing on or off ahead of mastering. Finally, some will mix straight into the bus allowing it to shape and “set the tone” for the rest of the mix.Neither is it a necessity to a great mix. People in this camp look at it as another tool to moving the needle forward.
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