John
I'm with Dave on this.

Me too.
 
I can see a reason for a separate mixbux for those guys who use ARC software in their master bus and don't want to have that printed on their exports ... but I don't use ARC or likewise ...
 
But different goals need different means to get them. Whatever works for you is fine

Rob[atSound-Rehab]

John
I'm with Dave on this.

Me too.
 
I can see a reason for a separate mixbux for those guys who use ARC software in their master bus and don't want to have that printed on their exports ... but I don't use ARC or likewise ...
 
But different goals need different means to get them. Whatever works for you is fine

I was going to say the same thing. I don't think I could have said it as well.

I don't see what purpose this would serve.  If there are no effects on the pre-Master bus, it does nothing.  If there are effects. why no just put them on Master?
 
I use subs for guitars, vocals, keyboards, drums, orchestra, etc. so I can correct overall levels without messing up all my fader movements; but those subs all go to Master.
 
Someone people may use the pre-Master bus to vary levels so they don't have to touch Master, but that wouldn't really change anything except their perception; and I would not be a fan of riding a fader on an overall mix.

Eventually, all instrument and vocal busses are routed to a bus I call Mix which is then routed to a bus I call Master which is routed to the main outs.
 
On Mix, I place global affects such as bus compression.  On Master, I typically have a metering plugin followed by the Sonarworks Ref 3 headphone plugin.  When I think I'm finished mixing I often put a maximizer first in the chain on Master too, just to hear how that sounds and to see how hard I have to hit an L2, for example.  Before exporting the mix I disable or delete the affects on Master.  I guess I could delete Master altogether, but I usually don't and when I return to tweak the mix the project is still set up.

One other thing I'll add to this discussion:
 
For fun I tried the following last night and it's (so far) helpful -- I added a third bus called "headphones" which is fed by the Master bus (temporarily).  It has a headphone reference plugin (Waves Nx system) to use while tracking and mixing as needed.  Before finalizing a track the setup is:
 
1.  The Mixing bus feeds the Master bus and contains console emulations, multiband "glue" compressor (Ozone if necessary), stuff like that.
2.  The Master bus feeds the soundcard but also has a prefader send to the Headphones bus, with the fader temporarily set at zero (to avoid sending double the signal to the soundcard).  Plugs here include a Limiter, Sample Magic A/B for reference, SPAN.  I was pleased to discovered these also work just fine with the fader set at zero (the Sonar singal flow chart was very helpful).  Here's the key:  I created a quick group for the mute buttons on the Master bus and Headphones bus, starting with one on and one off when the group was created.  That way, when I'm ready, I mute the Headphone bus, bring the Master up to zero and it sends directly to the sound card.
 
This may all prove to be too complex in the end, but I like having the Nx system available and not in the Master chain.  YMMV 
 
Steve

bitflipper
This is the only rational reason for redundant busses: when you need separate outputs. Examples include headphone mixes, using room EQ for monitoring, and routing to alternate speakers.

"Redundant" yes.
But functional extra busses before the final "A" are quite rational and functional for others.