ORIGINAL: IzovAge

ORIGINAL: LixiSoft

It's a common practice in most pro studios to "mix into" the 2 bus compressor. Many pros strap a comp on their mix bus for the sound it gives them, to "glue or gel" the mix together. I see this all the time on modern mixes. As a mixer, you want to know how your eq and FX settings change your sound when going through the comp on your "2 mix" bus.

I couldn't agree more! This is standard practice. Also, a great reason to have a nice external 2 channel or stereo compressor to run your mix thru, then record back to a stereo track.

That's how I do it...watch "Mix it like a record"
I try not to have any clipping track beforehand as well...

I usually mix as I'm tracking, and I've found that sometimes the master out does get a little "hot" as I add more tracks- hence the need for a limiter. But perhaps I should try and keep the individual track outputs a little softer.

Thanks for all the advice - I should have realised with any question on music or recording there is always more than one "correct" answer!
Graeme

My 2 cents....

Personally (and I realize some disagree), I wouldn't mix with a limiter engaged and definitely not with a compressor engaged. Get the mix sounding as good as possible w/o any mastering effects. Then add final compression (i.e. glue) and (hopefully tasteful) limiting when you are done. If the mix is good from the start, you can use your mastering effects less heavy-handedly.

The common dubious comment used to be "fix it in the mix". Now it's "fix it in mastering.

ORIGINAL: gsacks

I usually mix as I'm tracking, and I've found that sometimes the master out does get a little "hot" as I add more tracks- hence the need for a limiter. But perhaps I should try and keep the individual track outputs a little softer.

You can reduce the input trim on your master bus when this happens. This keeps your gain staging proper and prevents you from needing a limiter on master bus while mixing and tracking. It also feeds proper level to any subsequent plugins added to your master bus.

By and large I agree with the majority on this one. While a limiter and/or compressor is acceptable to place on your master bus, I wouldn't engage it until my mix was well on it's way to gelling together.

Even the MiLaR method suggests not engaging this until later in the mix, just so you're working with the actual recorded sounds to make your important initial mix adjustments.

Taking 60 tracks of guitar and making them the nu-metal sounding wall of guitars is a mixing decision that requires more ingredients than just slappin' Boost on your master and laying them on thick (I think, I don't write nu-metal really). I mean, you COULD do it, but I would think starting a mix with a limiter and/or compressor engaged is like watching an IMAX movie with reading glasses on.

Most modern mixing wisdom, regardless of what style is veers off into, begins with getting a very honest and organic sense of the sounds and the stage you're working with. No effects, faders up equally at first, not over-using the solo button, etc. I wouldn't think having a limiter turned on would help nearly as much as it would frustrate if you decide later on to take a part out or try a major tweak.