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What is on your 2 buss?

Discussion in 'Pro Audio Equipment' started by Paul999, Dec 28, 2011.

  1. Paul999

    Paul999 Active Member

    I know some folks don't put a ton on their 2-bus and others put everything and the kitchen sink on it. For my business I try to keep as many dollars in house as possible and mastering is often left in house. I get to work with an excellent mastering engineer a few times a year and I love it. I run my 2-bus way differently when I am sending him a mix.

    When I am doing the mastering as well as mixing I have a waves maxxbcl hardware using the limiter section only at the end of the chain. I pull about 1.5 db of the peaks off as I mix. Before my waves hardware unit I have a manley variabl-mu. This compressor has not left by 2-bus in 5 years. I had a super tough acoustic session to mix, which is odd, because I usually feel I excel at these type of recordings but as I was mixing I was getting this odd bump at 200hz and the 2.5k ish territory. As I would go into the individual tracks it could get some improvement and when I would eq my 2-bus with a plugin before or after my chain it was also of little use. In a fit of desperation I put a live 31 graphic eq between my Manley and waves maxxbcl. It was just the ticket. The placement is the key more then the eq unit itself is what I am thinking. In the mean time I have 2 550b's on the way to replace my little graphic because I haven't taken it off since the project and it has become an indispensable part of my mixing. If I love these on 2-bus but find them not adjustable enough I'll use them on tracks and get a 5500. I already have 550b's and love these eq's. If I am not crazy about them it looks as though I'll need to break down and get the massive passive I've been pining for since I loaned it a few years ago.

    What are you guys using on your 2-bus?
     
  2. audiokid

    audiokid Staff

    Hey Paul, another fun thread started and the 2-bus is a favourite for me.

    I'm still sorting out my new my so I can't contribute to anything substantial or useful for you but I'm looking forward to others on this thread for sure!

    Those API 550b's look pretty cool. I'd love to have a pair of them. The maxxbcl isn't something mentioned around here, not sure why. It looks pretty cool. Is it on the same lines as the MaxxBass? I haven't used Waves stuff for 10 years. Tried the MaxxBass back then but didn't like what it did too much. But it was a plug-in.

    I'd love to have the Vari Mu, its on my list one day.

    Your 2-bus sounds quite coloured. Why are you going more that direction than not? I'd love to hear some of your acoustic tracks some time. I love acoustic music! I bet you are getting a really fat sound?

    I use the SPL (Sound Performance Labs) Passeq where you would put the Massive Passive. I'm big on combining Dangerous Music ( Dangerous Master) & SPL gear,( MixDream) for OTB summing. I have a ton of ways to sound design around the 2-bus and a lot of years figuring it all out.
     
  3. audiokid

    audiokid Staff

    What is your final step after the 2-bus? Do you do one more step at 44.1 to master or is that your master there? I print the 2-bus on a separate DAW track and bounce it to 44.1. From there I master it, which I'm experimenting with both ITB and OTB methods right now.
    What DAW are you using or printing to for mastering?
    Do you use your outboard gear as inserts in your DAW or are you mixing OTB too?
     
  4. Paul999

    Paul999 Active Member

     
  5. audiokid

    audiokid Staff

    Very cool Paul, I'm going to ponder over your rig a bunch. I love hearing about other hybrid rigs! I'd like to have a forum just for us.

    Sure, I'll rave about SPL thumb

    SPL stuff is so underrated in North America its hard to believe. I got interested in them around 2004 when I noticed a company that makes excellent mastering gear, take a clever direction towards hybrid. They are designing all the right pieces for hybrid DAW studios. I follow companies that make high quality mastering gear as well as recording gear, like Manley as you know, and Dangerous Music whom is a leader in hybrid summing as well.
    Dangerous Music and SPL gear is the core of my studio.

    SPL gear is very well made, extremely quiet and silky smooth sounding. Their support is the best and their direction is cutting edge.

    The 2381 Monitor Talkback Control is another piece I just love, but this piece is extremely transparent, and for good reason.
    The Passeq, when I die I'm going to have one leg removed so the Passeq will fit in my coffin. It has 60 volt rails, huge headroom and is very clean but silky smooth. Its very clever and accurate.
    The MixDream is so awesome, its changed my life. Until I got that, I've regretted selling my G16 for Pro Tools. I wasted thousands on that rig. I leave it in the closet just to say I have PT. I made my money back on it so I can't complain. It just wasn't fun making it. My digital editing knowledge goes back to the early 80's so PT was an obvious step for me. I made thousand $ playing the Alberta/ BC A Circuit back then using all the latest digital stuff in a very big sounding two piece techno duo called, Jet.

    I have a love hate thing for digital audio. Hybrid is the best of both worlds.

    Back to SPL :)
    My rig is so quiet I can barely tell its on with headphones cranked. The sound I have is stellar and its all built around the MixDream and Dangerous Master. Without going on and on... What can I say... I'm an SPL freak.

    I have 8 SPL Premium mic-pre's with Lundahl coming in Jan. I'm told they are to die for. They are clean, huge headroom and silky.
    These are going to be my acoustic music reference gems.
    I'm certain I will not be disappointed.
     
  6. rocksure

    rocksure Active Member

    Various things find their way onto my 2-bus at times. But I always sum mixes OTB, and have Ward beck amps followed by an ART Pro VLA on there as a constant, even if other things change at times. Works well for me.
     
  7. Paul999

    Paul999 Active Member

    Those Ward Becks are supposed to be cool. What do you like about them?
     
  8. rocksure

    rocksure Active Member

    The WBS M450B summing amps I have just seem to produce a nice character. Not overly coloured, but subtle. I also like their preamps. I have M470A which has a nice and kind of mid-range presence that is great for voice or guitar etc. I would love to try their EQ's as well..meant to be nice.
     
  9. tmacomber

    tmacomber Active Member

    Agreed. Don't want to hijack the thread, so I'll just say that I own the Kultube, TD4 and Vitalizer Mk2-T and find them indispensable.
     
  10. audiokid

    audiokid Staff

    SPL Kultube

    Right on, and welcome back member 8862! (y)

    I have the Kultube also and I'm just starting to play with it. Its a great box! I love the tube on bass! i'm just starting to experiment with it on the 2-bus.
    Is yours stock or with the Lundahl tranny? I've read some think it adds so much more to their Kukltube but I've also read this is not a necessary add-on for compressors. SPL offers this as an option but also confirms it serves little benefit if any over the stock unit. Lundahls are right on for preamps. Mine is stock. Whats yours and what are your thoughts on that?

    I have a RackPack 8 filled with SPL Premium MicPre's (Lundahls in those) coming this week. I'm soooo excited!
     
  11. tmacomber

    tmacomber Active Member

    Thanks, I mostly lurk and lately I'm a refugee from gs - don't understand that site anymore! My Kultube is stock, haven't tried the Lundahl's but I prefer cleaner sound for compression anyway as most of my work is acoustic (bluegrass/folk/gospel) or voice for radio. As for using it on mix bus, I'll never forget my first day with the Kultube; we had worked all day on a mix, went home very happy with it, next day the Kultube arrived so we said why not, and put it across the mix. I can honestly say that was the one time in the studio where I went What is that? It just opened up the mix like I hadn't heard before and I can't really explain it except to say it everything sounded bigger and more open. . . from a compressor! I've since added other tools including the Unicomp which is amazing, but the Kultube is still a favorite.
     
  12. RemyRAD

    RemyRAD Well-Known Member

    HMMMMM? What's on my 2-bus? Well on the left, I have the 30 foot, 25,000 pound, Mercedes-Benz 1117 with the Neve. On the right, I have the 16,000 pound, 30 foot, Fleetwood Southwind RV, with the analog/digital, hybrid flight pack and the digital mixer. And the combination of those two, make all of my mixes sound good. Or did I misinterpret something here?

    Orban 418 A/stereo strap 1176's
    Mx. Remy Ann David
     
  13. audiokid

    audiokid Staff

    The shills on that site used to overrun this place until 2003 when I did severe things to stop it all. We take pride in our content and members. When the core of this community smells stuff like that we go out of our way to set the record straight. Slow and steady the cream is rising and returning back here. Good to hear your comments and its right on seeing you back.thumb

    NOW YOU HAVE ME EXCITED! I'm going to patch it in today. I'm very slow at making changes. I like to use something for a long time. Kind of like embedding the sound into my head. Once I get it, I add the next piece. I'm ready for the Kultube now.

    Remy, I owned the Orban 672A years back. Loved it for Electronic Bass.
     
  14. RemyRAD

    RemyRAD Well-Known Member

    I had one of those once and never quite found what I liked it on. So I sold it. The 418 A is essentially the quintessential truly all-in-one original FM broadcast processor originally created as the FM-OPTiMod. Mine has no stereo generator nor Clippers & is just the peak limiter from that device along with the selectable preemphasis high frequency weighting of 25/50/75 µs. That was great back in the day for cassette mastering because of the selectable high frequencies limiting you could dial in. I still find that high-frequency limiting quite desirable on numerous problems sources. It really gives you the ability to add gobs of high frequencies equalization boosting without fear of audible repercussions. The 1176's also have a factory recommended switchable modification to also provide 75 µs of high-frequency preemphasis in the detector signal path.

    I can't afford to play with any of that tube stuff.
    Mx. Remy Ann David
     
  15. audiokid

    audiokid Staff

    Last night I was switching between the Lundahls and clean in my MixDream. I've had it active since I bought it. It took me a while to get used to the overall sound and options it has. I feel it sounds more open with it bypassed now, which I tend to like more too. But would be ideal in less complicated mixes needing some silk. Hybrid is so fun!
     

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