Dynamic Spectrum Mapper almost always. DC8C v.2 in parallel sometimes. UAD Precision Buss Comp in parallel sometimes (just a touch, usually only on dance music). I also like Molot in parallel on some material.
If I need master EQ I use Tone Boosters Flx, Zynaptiq's UNFILTER to clarify the low end a little, and sometimes A.O.M. tranQuilizer. My limier is usually Pro-L but sometimes Melda's MUltramaximizer works well if carefully calibrated, and I even use the original Buzz Maxi on occasion (for dance).
What's on your master bus?
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- KVRAF
- 5524 posts since 5 May, 2007 from Mars Colony
"You don’t expect much beyond a gaping, misspelled void when you stare into the cold dark place that is Internet comments."
---Salon on internet trolls attacking Cleveland kidnapping victim Amanda Berry
---Salon on internet trolls attacking Cleveland kidnapping victim Amanda Berry
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- KVRAF
- 2960 posts since 9 Dec, 2011 from falling
Master bus is empty.
I have a premaster channel that always loads with:
bx_digital V2 (mono-maker set to somewhere near150 Hz)
PSP Xenon (doing nothing but catching any surprises)
Slate VBC FG-MU (initially off)
I have a premaster channel that always loads with:
bx_digital V2 (mono-maker set to somewhere near150 Hz)
PSP Xenon (doing nothing but catching any surprises)
Slate VBC FG-MU (initially off)
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Mister Natural Mister Natural https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=164174 - KVRAF
- 2892 posts since 28 Oct, 2007 from michigan
Ozone 5(simple)with brickwalled eq at 37hz highpass & 16.5k low
followed by a LIVE limiter to catch the random stray transient
followed by a LIVE limiter to catch the random stray transient
expert only on what it feels like to be me
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- KVRAF
- 42529 posts since 21 Dec, 2005
I wish I was a purist and didn't use anything ever but I have several project that use various things. Oddly, I like mpressor 
which makes little sense to those who don't own it, or DSM. DSM can be smile medicine if used correctly.
I'd like to have Isone on my master and nothing else until bouncedown. But I can't figure it out (please no manual comments)
which makes little sense to those who don't own it, or DSM. DSM can be smile medicine if used correctly.I'd like to have Isone on my master and nothing else until bouncedown. But I can't figure it out (please no manual comments)
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- KVRAF
- 11315 posts since 18 Aug, 2007 from NYC
So, none of this?hibidy wrote:I wish I was a purist and didn't use anything ever but I have several project that use various things. Oddly, I like mpressor
I'd like to have Isone on my master and nothing else until bouncedown. But I can't figure it out (please no manual comments)
or this?
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- KVRAF
- 1821 posts since 26 Nov, 2005 from Where silence and chaos meet.
Always a spectrum/phase analyser... But I have as well a set of mono maker plus an eq or two set with heavy low and high cuts, and overdrives set rather gently, various of them... I switch some or all of those on and off during mixing to simulate various setups and checking how the mix would translate on various systems or crappy speakers.
It's not what you use, it's how you use it...
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- KVRAF
- 5524 posts since 5 May, 2007 from Mars Colony
That's a good point, I really mentioned my mastering setup. For mixing I would probably just mix into Dynamic Spectrum Mapper because it's become essential to my sound so I kind of need it on there all the time, or just Pro-L set to catch overs.Zombie Queen wrote:The OP asked abut "master bus", not mastering. The reality of average DIY musician is not doing mastering. "Finalizing" mix on master bus makes perfect sense in such reality. Mostly, as I see, people don't put much there.ras.s wrote:I think using a lot of effects on the master bus while mixing is.. destructive editing.
I master based on a several stem breakdown and I run different things on the stems. UNFILTER would be applied only to the bass instruments and kick drum, and I would send the stems at different levels to the gluing comp if I used one. Flx would be used to make final adjustments to the tonal spectrum of everything in dynamic mode. UNFILTER is impossible to use in mixing because it needs unbelievable quantities of CPU, and Flx has high latency so I use it for mastering mostly. I might also use the 112db Redline EQ in dynamic mode.
And if anyone attacks me for self-mastering, they can go suck a toad.
"You don’t expect much beyond a gaping, misspelled void when you stare into the cold dark place that is Internet comments."
---Salon on internet trolls attacking Cleveland kidnapping victim Amanda Berry
---Salon on internet trolls attacking Cleveland kidnapping victim Amanda Berry
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- KVRian
- 605 posts since 31 Aug, 2012
in last master bus was henry olonga clariphonic and crysonic old limiiter
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- KVRAF
- 42529 posts since 21 Dec, 2005
lolzelxsound wrote:So, none of this?hibidy wrote:I wish I was a purist and didn't use anything ever but I have several project that use various things. Oddly, I like mpressor
I'd like to have Isone on my master and nothing else until bouncedown. But I can't figure it out (please no manual comments)
or this?
Btw, what I mean is 99% of that makes absolutely no difference that I can tell.
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- KVRAF
- 8413 posts since 4 Jul, 2012 from Alesia
I slap the Glue on almost every project I have.
Sometimes if i think i need to i'll use this signal chain in live.
EQ8 -> Reverb -> The Glue
depends on the project really. I don't really work in a traditional way at all.
Sometimes if i think i need to i'll use this signal chain in live.
EQ8 -> Reverb -> The Glue
depends on the project really. I don't really work in a traditional way at all.
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- KVRAF
- 4329 posts since 26 Jun, 2004
I usually export with nothing on the master and put a limiter on the wav.
My default daw project just has a simple little plug to catch volume spikes that does nothing to the sound.
If I were doing it all "in-daw" to export straight to finished 16bit wav I would have an Equilibrium>Pro-L on there though.
My default daw project just has a simple little plug to catch volume spikes that does nothing to the sound.
If I were doing it all "in-daw" to export straight to finished 16bit wav I would have an Equilibrium>Pro-L on there though.
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- KVRian
- 1091 posts since 8 Feb, 2012 from South - Africa
That's exacly like I do it.Compyfox wrote: In Cubase, I usually never exceed -3dBFS to -2dBFS on the summing bus. Thanks to using a reference level of -18dBFS.
As for a general suggestion to all - if you master your own stuff, do it a few days after you did the mix; a mix-engineer mentality and a mastering-engineer mentality are 2 very seperate things.
Andrew
