markno999
Dan,
 
You can certainly introduce NLS mid-project, you may just need to pull back some EQ on a few tracks.   Just saying as a general rule I think it is best to start mixing through your project template so you have to mix less.   
 
Personally, I don't like fiddling with a project mix too long and find starting with a few simple additions to the mix template from the start really cuts down the tweaking, particularly EQ and placement.  For me, those additions are Bus Compression, tape,  and Console Emulation, with a limiter on the Master Buss for reference only.   I find with a lot of tracks, faders up is all the mixing that needs to be done.  
 
Regards

 
That's true, particularly with orchestral instruments and many synths. Guitars, bass, and drums though...
 
Regards,
Dan

markno999
You can certainly introduce NLS mid-project, you may just need to pull back some EQ on a few tracks.   Just saying as a general rule I think it is best to start mixing through your project template so you have to mix less.   
 

that's what I usually do. throw it in midway. which is after tracking is done, when a rough mix exists.
 
throwing it into an almost final mix didn't do much (or much positive) here as if the mix is almost there, NLS won't contribute, sometimes even color it the odd way ...
 
throwing it in midway may indeed result in fewer tweaks applied to the mix afterwards (which is also how some of the advertising goes). some of it may be placebo, some of it real. but even placebo can be good if it keeps you from over-tweaking ;-)

Rob[atSound-Rehab]

markno999
You can certainly introduce NLS mid-project, you may just need to pull back some EQ on a few tracks.   Just saying as a general rule I think it is best to start mixing through your project template so you have to mix less.   
 

that's what I usually do. throw it in midway. which is after tracking is done, when a rough mix exists.
 
throwing it into an almost final mix didn't do much (or much positive) here as if the mix is almost there, NLS won't contribute, sometimes even color it the odd way ...
 
throwing it in midway may indeed result in fewer tweaks applied to the mix afterwards (which is also how some of the advertising goes). some of it may be placebo, some of it real. but even placebo can be good if it keeps you from over-tweaking ;-)

For my current project, I might experiment with it as a coloration/saturation plugin on a couple of tracks that I think may benefit, particularly snare, kick, bass and a couple of synth tracks that need to stand out better but I don't want to be louder, if you know what I mean...
 
My next project will definitely start with it so I can see what it is like to mix into it.
 
Regards,
Dan

I really like this thing. Yes, it is not as advertised but I got it for $30 or something and I use it in Logic. But if I was still in Sonar, I am not sure I would have used this over the PC module that does pretty much the same thing. But, I love having a plug like this in my DAW. It's inserted in all my templates now and with me all the way. Good stuff!

I quite like NLS. I was aware of what it does before I bought it, it simply models the characteristics of channels on certain mixers with the convenience of being able to alter a bunch of hem at the same time and using SSL for some tracks, Never for others and so on. I use it with Logic, in Sonar I'd probably just use the PC equivalent.

Like most such processors it's pretty mild in what it does, which isn't surprising given that the desks it models were designed and built with low noise and low distortion as a priority. Using an analogue mixer for summing really does pretty much the same thing - a set of channels each with it's own characteristics and minor differences which are then fed into a master bus which itself has some "imperfections".

As a way of making stuff sound less pristine and "digital" it does it's job, though on a project with few channels it makes little audible difference - which is how it should be, if it had a pronounced effect on audio it wouldn't be acting like a high-end desk does.

As for using it with things like Waves REDD or TG12345, I wouldn't go down that route as those plugins model very different kinds of desks to the more modern ones and have their own characteristic sound "built in". Unless you've a use for emulating a setup where a 50s or 60s console is then plugged into a more modern desk.

I've been dithering whether to turn this demo into a full license. Might consider WUP next year although I'm just building a collection of plug-ins I might use. Some of the post production tools like noise removal are interesting to me, as in the past some vocals have been supplied to me or indeed just some sample content I have been using was too noisy.
 
When I ran it over my tracks and routed to the corresponding busses (VCA) channels it does something..not sure what. I might need to put an analyser on the master buss to see what it does. I noticed my kick and drums were more punchy and synths probably more than I wanted.
 
Anyway I was going to ask the question anyway, however found this post before I did.
 
 
 

I've been experimenting with it and, in moderation, I like what it does. I don't use it on every track in a project, but I generally do on guitars, bass and drums. Things like synths I route to a bus and add NLS there to fatten things up.
 
Regards,
Dan
 

Dan ,I don't know if this will help, but what i do with my projects is get a level sound with just my faders and save that in Mix Recall as "Raw Original". That way if I decide I want to remix with different plugs to see what differences certain techniques or plugins do, I don't have to start from the "very" beginning.

When i get to a certain point I save again as a new Mix Scene. That way i can go back and try different things without too much trouble.

I love Mix Recall!!