Saturation on the master

[LeVzi]

Is there any need for something like this (Tape emu, etc the old analogue emu's) with the likes of EDM ?

I've always wondered about it, I personally don't use it, but was wondering if anyone does, and why.

[excuse me please]

I assume you are kidding. To give my tracks that "analog warmth".

[LeVzi]

I assume you are kidding. To give my tracks that "analog warmth".

People do it. They add the likes of a tape sim or something similar. I never have but I am trying to understand why this is a thing.

[excuse me please]

I assume you are kidding. To give my tracks that "analog warmth".

People do it. They add the likes of a tape sim or something similar. I never have but I am trying to understand why this is a thing.

Afaik it's common practise in EDM:

https://www.edmprod.com/distortion-saturation-guide/

[mystran]

I assume you are kidding. To give my tracks that "analog warmth".

People do it. They add the likes of a tape sim or something similar. I never have but I am trying to understand why this is a thing.

I guess light saturation on a mixed track can give an impression that you're listening to a single track, rather than a bunch of different sounds. In a sense, by processing the whole thing in bulk, you can end up with something that sound less like an acoustic space and more like a recording.

I suppose it could even improve immersion, 'cos human mind is kinda weird. If you're watching a movie, you tend to zone out anything outside the image frame, not necessarily in the sense that you don't perceive anything around you, but rather in the sense that your mind tends to process the actual reality and the "reality" depicted in the movie separately. If you're immersed in a computer game, you tend to similarly zone out the reality around you to a certain degree and the game environment can feel like it's own separate universe. In both cases, you mind can sort of be in "two places" at the same time.

So I suppose that by drawing a stronger line between what is and isn't part of the recording (eg. by trying it together with some saturation, compression, etc), you might be able to get some of this same effect, where it might be easier to "zone out" unrelated sounds that are not part of the track.

These are just some random personal thoughts though, never thought about it that much as I'm not a huge fan of saturation on the master myself, but it's sort of the same thing with bus compression too I suppose.

[LeVzi]

Using saturation or distortion on tracks (Leads or basses etc) yeah thats standard.

But on the mix bus or master, just kinda throws me a bit, as to what the actual point is. Soft clipping I get, although i'm not comfortable using it when pushing the loudness overall.

I dunno if i'd feel comfortable putting saturation on the master, when driving the signal hot into a limiter .

[LeVzi]

I assume you are kidding. To give my tracks that "analog warmth".

People do it. They add the likes of a tape sim or something similar. I never have but I am trying to understand why this is a thing.

I guess light saturation on a mixed track can give an impression that you're listening to a single track, rather than a bunch of different sounds. In a sense, by processing the whole thing in bulk, you can end up with something that sound less like an acoustic space and more like a recording.

I suppose it could even improve immersion, 'cos human mind is kinda weird. If you're watching a movie, you tend to zone out anything outside the image frame, not necessarily in the sense that you don't perceive anything around you, but rather in the sense that your mind tends to process the actual reality and the "reality" depicted in the movie separately. If you're immersed in a computer game, you tend to similarly zone out the reality around you to a certain degree and the game environment can feel like it's own separate universe. In both cases, you mind can sort of be in "two places" at the same time.

So I suppose that by drawing a stronger line between what is and isn't part of the recording (eg. by trying it together with some saturation, compression, etc), you might be able to get some of this same effect, where it might be easier to "zone out" unrelated sounds that are not part of the track.

These are just some random personal thoughts though, never thought about it that much as I'm not a huge fan of saturation on the master myself, but it's sort of the same thing with bus compression too I suppose.

I think this is why I can't wrap my head around it, as I don't really understand what they are trying to achieve.

[excuse me please]

I think the following article explains it well:
https://hub.yamaha.com/proaudio/recordi ... ompression.

[andymcbain]

Yeah it’s definitely a done thing, though as with all these processes it’s not absolutely necessary.

I like Tone Project’s Kelvin for this as it can add that 5% extra harmonics / density / “magic” to the full mix without messing with the transients too much (though obviously this is dependant on the saturation model you use)

[imrae]

I've used it before when working on albums, to bring the feel of a cleaner track closer to more distorted/compressed tracks on the same record. Just a little touch, one of these things you just about notice in an A/B comparison - but it adds up to a more coherent whole.

I wouldn't have it on the master while working on individual tracks, though.

[DMG68]

I use different plugins and often combine them with a little touch of each. Common setup is Kush Audio Omega TWK and Satin. I also like Presswerk as you can tune the saturation and the amount that it applies with the dynamics of the song, so it can be setup to be more non-linear I guess is what it is. I may use TWK and Satin on the mix buss and then Presswerk when mastering. I also really like Kush Silika for saturation, and often have it on the mix buss along with TWK and Satin. I always mix through these, I don’t add them afterwards, but I do check and adjust them throughout the mix to ensure they’re getting hit the way I want throughout the process.
Experiment with mix buss saturation and see what you think, if you don’t like what it does then leave it off.

[Scrubbing Monkeys]

I use Tone Boosters Reelbus sometimes. It kinda smears things in a pleasant way IMHO.

[Bulbizarre]

Using saturation plugins on the master is a quick way to degrade the sonic picture of the song. If the track lacks loudness and it cannot be fixed in the mix, why not, but I will never slam a saturation plugin on my master by default. I don't like what it does.

[pixel85]

There's no need but when it works it works.
There's no one recipe and like it was mentioned in another topic, that people want "that sound" but they ignore fact that it's not a tool but producers/mixers/engineers way of doing stuff that makes "that sound". So while one say that saturation shouldn't be used, another use it and makes "hits" and vice versa.
I myself can recommend IKM Tape 80 (dirtier) or 99 (cleaner) for EDM. I'm impressed of what it does and no other "saturation tool" can give the same effect.
Try different saturators, find your own sound and stick to it. Saturators like EQs and compressors have its use in any stage of music production.

The trick of saturation effect on master bus is to make it sounds like there's no "saturation effect" in a meaning of distortion. Except if it's harder type of EDM then why not

[LeVzi]

There's no need but when it works it works.
There's no one recipe and like it was mentioned in another topic, that people want "that sound" but they ignore fact that it's not a tool but producers/mixers/engineers way of doing stuff that makes "that sound". So while one say that saturation shouldn't be used, another use it and makes "hits" and vice versa.
I myself can recommend IKM Tape 80 (dirtier) or 99 (cleaner) for EDM. I'm impressed of what it does and no other "saturation tool" can give the same effect.
Try different saturators, find your own sound and stick to it. Saturators like EQs and compressors have its use in any stage of music production.

The trick of saturation effect on master bus is to make it sounds like there's no "saturation effect" in a meaning of distortion. Except if it's harder type of EDM then why not

I guess I would probably avoid it for fear of adding too much and ruining the mixer.