southpaw3473

kennywtelejazz
 
what is blowing my head is 
I took 3 separate computers with 3 different operating systems , ( W 8 , OX 10.7.5, XP ) with 3 different high end DAWS , 3 different sets of plugs , 3 totally different sound cards and was able to have a consistent project once in Mixbus on all three machines …..
 
to me thats a true mind blower …. think about what that could mean for a moment 
 
Kenny  
 

That is pretty cool. It's crazy stable.

Yeah , thats pretty heavy 
on my experiments I went from Windows XP to Win 8 to Mac ...
my next experiment would be to create a project on the Mac and see what happens ….
will I be able to go from Mac to Windows 8 to XP ?…..while using Mixbus
I sure hope I can ,  I already have a useable work around in place if it doesn't work out to be as easy ...
I'm very sure this would work  
Create a project in Mixbus on the Mac ..put it on my thumb drive 
bring it over to Windows , place it where I keep my Mixbus projects ...
open Mixbus and point it to the Mac project and open it 
if it won't open .
all I have to do is create a new Mixbus project while in Windows  and import my audio from the folder from the Mac project 
once everything is in the new Mixbus project …..hit save and I'm good to go …..
 
now thats pretty heavy man …
it means that it doesn't matter what anybody uses for their primary DAW or OS for that matter …..
as long as they have Mixbus , I can collaborate with them and have a consistent project and working environment right out of the gate ….
since SONAR happens to be my desert island DAW and I'm the most comfortable using it ...
the other side of the coin is ,
OK why not grab the Mixbus audio tracks , place them  in a SONAR project …edit to my hearts content ...
export them as individual audio tracks , place then in a New Mixbus project ….
and send them on their merry way …to whomever I'm collaborating with 
 
the possibilities of using Mixbus have twisted my brain 
 
Kenny
 
 
 
 

I actually started mastering with Mixbus before doing any multitrack work with it. Once I am happy with a mix I export it from my main DAW which in my case is Studio One. I don't put anything on the masterbuss of that program usually. I master to a K reference of -14 often. (Mixbus is setup for a K -14 ref levl BTW. Good for K system users however at this point that level is fixed. I would like to see variable ref level in Mixbus)
 
I am also often mastering other people mixes so I just import that directly into Masterbuss. I work with one stereo track mainly and use the first channel EQ as any general or slight EQ that may be needed. Often the channel EQ is not used as well. I switch off channel dynamics too. On the channel I also insert the first Mastering EQ for the overall mix. This is a choice for me depending on the music. I use the Harrison mastering EQ and like it. I feel it handles the extreme ends of the spectrum and the middlle part well, all in one EQ. I also like the LP64 from Cakewalk. I sometimes use the LP64 to deal with the very low end and very high end shapes. I combine that with a Nomad full version of the Pultec EQ. I like shaping the mid sounds with the Pultec a bit. So I may need two EQ's to handle the EQ work over the mix. If a mix is really great very little EQ is needed. Just some bottom end work and check the very high end. Sometimes I have arrived at the very sound I want with no inserts EQ wise but simply the channel EQ on the Harrison. If it is just a broad sweep that EQ does lots of things well. It is the one with the most bite so beware of it. It is nice and smooth too.
 
I route the channel to a buss and do the mastering compression on the buss. Now there is a slightly differenent buss EQ there compared to the channel EQ. It is simpler but also great for a final tweak if needed but generally I am happy with the EQ sound by the time it arrives at the buss. I do the compression there. I use the Harrison Mastering compressor and love that a lot. It is way cool. I like the way you can limit the amount of downward gain reduction on any of the bands. That makes for some very transparent compression. What I have been doing is routing the signal now out to a real Smart C2 compressor and apply the compression there and back into the mastering chain. I don't have it now but am very happy with some great VST compressors. I can match the sound of the Smart now. One of my faves is the free Tokyo Dawn Labs compressor. It is clean and can sound very transparent. Here I am just going for that gentle smooth pro sounding even level thing going on. I keep the attack slow to let the transients live. Low ratio here 1.5:1 or less. -2 to -3db GR at the most.  I don't use the buss dynamics at all on the Harrison (yet, have to explore all Harrison dynamics further in time) and maybe (often not) start dialing in tape saturation but only very carefully.
 
Sometimes I add a little gain here and there on the channel and the buss making it easier for the final limiter but also I tend to keep the levels on track and buss right on the K-14 ref level.
 
The buss feeds the main stereo buss in the Harrison. Here is another and third EQ. This is one is way cool and has a low mid knob that pulls out all that thick excessive 200 - 300 Hz area. A built in knob that just fixes that area instantly! (Real Harrison has this BTW) It is very good and works great. Don't dip out too much of this area though! Some mixes may need some surgical work around that area too and I might do that in the LP64 further back if needed but the Harrison Low/Mid knob is pretty special! I would rarely alter the other EQ knobs on that master EQ though. Just a hint of Low/Mid dip. No bulit in Harrison dynamics on the masterbuss for me at this point. The level meter is just peaking -14 now on the Master. Tape sim can be added here too and I am careful if and how much. Often none at all.
 
I use PSP Xenon on the master and it is here I dither down to 16 bit and add rms gain to the master overall. The signal now leaves Mixbuss fairly loud mow. I recalibrate my system externally for mastering at a different level. I have gone as high as -7 dB rms (LUFS as well) but lately I am only going up to around -10. That way Xenon only has to add 4 dB of rms gain and it does that walking in the park and still sounds nice doing it. No distortion in sight.
 
I am very much into loudness metering and lately I have been working with those in conjunction with Mixbus. I have got the (free) Orban meter metering my LUFS levels going in and coming out of the whole process now. I also use the TT Dynamic Range meter and insert one of those prior to the channel EQ and right on the output after Xenon. It tells me when I am killing the Dynamic ranage and where and when to back off a bit in mastering. There is a sweet spot where you can still have quite a loud master but keep the DR in the area of 9 and 10 very easily.
 
 

Jeff Evans
I actually started mastering with Mixbus before doing any multitrack work with it. Once I am happy with a mix I export it from my main DAW which in my case is Studio One. I don't put anything on the masterbuss of that program usually. I master to a K reference of -14 often. (Mixbus is setup for a K -14 ref levl BTW. Good for K system users however at this point that level is fixed. I would like to see variable ref level in Mixbus)
 
I am also often mastering other people mixes so I just import that directly into Masterbuss. I work with one stereo track mainly and use the first channel EQ as any general or slight EQ that may be needed. Often the channel EQ is not used as well. I switch off channel dynamics too. On the channel I also insert the first Mastering EQ for the overall mix. This is a choice for me depending on the music. I use the Harrison mastering EQ and like it. I feel it handles the extreme ends of the spectrum and the middlle part well, all in one EQ. I also like the LP64 from Cakewalk. I sometimes use the LP64 to deal with the very low end and very high end shapes. I combine that with a Nomad full version of the Pultec EQ. I like shaping the mid sounds with the Pultec a bit. So I may need two EQ's to handle the EQ work over the mix. If a mix is really great very little EQ is needed. Just some bottom end work and check the very high end. Sometimes I have arrived at the very sound I want with no inserts EQ wise but simply the channel EQ on the Harrison. If it is just a broad sweep that EQ does lots of things well. It is the one with the most bite so beware of it. It is nice and smooth too.
 
I route the channel to a buss and do the mastering compression on the buss. Now there is a slightly differenent buss EQ there compared to the channel EQ. It is simpler but also great for a final tweak if needed but generally I am happy with the EQ sound by the time it arrives at the buss. I do the compression there. I use the Harrison Mastering compressor and love that a lot. It is way cool. I like the way you can limit the amount of downward gain reduction on any of the bands. That makes for some very transparent compression. What I have been doing is routing the signal now out to a real Smart C2 compressor and apply the compression there and back into the mastering chain. I don't have it now but am very happy with some great VST compressors. I can match the sound of the Smart now. One of my faves is the free Tokyo Dawn Labs compressor. It is clean and can sound very transparent. Here I am just going for that gentle smooth pro sounding even level thing going on. I keep the attack slow to let the transients live. Low ratio here 1.5:1 or less. -2 to -3db GR at the most.  I don't use the buss dynamics at all on the Harrison (yet, have to explore all Harrison dynamics further in time) and maybe (often not) start dialing in tape saturation but only very carefully.
 
Sometimes I add a little gain here and there on the channel and the buss making it easier for the final limiter but also I tend to keep the levels on track and buss right on the K-14 ref level.
 
The buss feeds the main stereo buss in the Harrison. Here is another and third EQ. This is one is way cool and has a low mid knob that pulls out all that thick excessive 200 - 300 Hz area. A built in knob that just fixes that area instantly! (Real Harrison has this BTW) It is very good and works great. Don't dip out too much of this area though! Some mixes may need some surgical work around that area too and I might do that in the LP64 further back if needed but the Harrison Low/Mid knob is pretty special! I would rarely alter the other EQ knobs on that master EQ though. Just a hint of Low/Mid dip. No bulit in Harrison dynamics on the masterbuss for me at this point. The level meter is just peaking -14 now on the Master. Tape sim can be added here too and I am careful if and how much. Often none at all.
 
I use PSP Xenon on the master and it is here I dither down to 16 bit and add rms gain to the master overall. The signal now leaves Mixbuss fairly loud mow. I recalibrate my system externally for mastering at a different level. I have gone as high as -7 dB rms (LUFS as well) but lately I am only going up to around -10. That way Xenon only has to add 4 dB of rms gain and it does that walking in the park and still sounds nice doing it. No distortion in sight.
 
I am very much into loudness metering and lately I have been working with those in conjunction with Mixbus. I have got the (free) Orban meter metering my LUFS levels going in and coming out of the whole process now. I also use the TT Dynamic Range meter and insert one of those prior to the channel EQ and right on the output after Xenon. It tells me when I am killing the Dynamic ranage and where and when to back off a bit in mastering. There is a sweet spot where you can still have quite a loud master but keep the DR in the area of 9 and 10 very easily.
 
 

Good Info Jeff!!  Thanx!

How loooooong did it take RSPE to process your order for Harrison MB ? Yeah, I couldn't resist... I have no brain. So no brainer sales always get me. I got the 10 dollar plug in pack from Harrison too. It is ready to DL but I'm thinking I should DL and install MB first... just to be on the safe side.
 
Please don't tell me about any more good deals.
 
J

jbow
How loooooong did it take RSPE to process your order for Harrison MB ? Yeah, I couldn't resist... I have no brain. So no brainer sales always get me. I got the 10 dollar plug in pack from Harrison too. It is ready to DL but I'm thinking I should DL and install MB first... just to be on the safe side.
 
Please don't tell me about any more good deals.
 
J

it took about 12 hours over here to process my order ….
I would suggest that you install Mixbus when you get your link first since the plugs you bought are already installed 
the  DL link for the reverb and delay is a text license  that will unlock them …. 
 
Kenny

A couple of hours, you should have gotten it already I'm guessing.
 
My first impression a few days ago, was loading an mp3 file, compared to Audacity playback.. MB sounded a little darker, less high, but I did not tweak anything.