Mix Template Series — Stereo Buss Processing (Part 2)

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Mix Template Series — Stereo Buss Processing (Part 2)

Hey, what’s up guys?

I’m David Glenn with davidglennrecording.com
and The Pro Audio Files.

We are on video two now of The Mix Template
Series.

We’re going to be talking about the stereo
buss, the mix buss, and we’re going to talk

about some buss processing, and even kind
of a quick overview.

I’ve got to jump around a bit to make sure
that we cover everything for the sake of being

completely in depth, but before we get into
the processing, the plugins, and the template,

I want to let you know, if you haven’t done
so yet, like and subscribe here at The Pro

Audio Files so that we can get you all of
the videos in this series for free.

I’m also going to be uploading some exclusive
videos to my Facebook page at David Glenn

Recording.

So facebook.com/davidglennrecording.

I’m going to be doing live Q&A and answering
your questions over there and in the comments

below.

And finally, I’m giving away my mix template
and a stock plugins version for Pro Tools,

and it may already be there, but over time,
I’m going to be adding multiple DAWs.

So go to davidglennrecording.com for free
mix templates and free multitracks as part

of The Mix Template series.

We got that stuff out of the way.

Let’s go ahead and look at the mix buss.

We’ll get to the plugins in a second, but
first, there’s a really critical piece of

information here for the mix buss versus the
master fader.

The master fader in Pro Tools, this will be
one of the rare situations that I’ll be talking

about something that’s exclusive to Pro Tools,
but in Pro Tools, you can hit Command+Shift+N

to get a new track, then use the keys here.

Stereo and then up and down arrows, the stereo
master fader.

That is what my master fader is in Pro Tools
and my template.

But, the mix buss is a stereo aux input, as
are the all vocals, all drums, drum crush,

all of these up here in blue, and then mix
A, B, and C. They’re stereo aux input tracks.

Now, the difference is, the master fader here,
the first plugin in the chain here, if I come

over here to the volume, and I drop that down
minus 9.2, that’s going to be minus 9.2 less

signal going into the first plugin.

The plugins are post volume fader.

Okay?

Now, on the mix buss, it’s not that way.

It’s the opposite.

So if I drop this down minus 9.2, or minus
9.9, what I just clicked on, that’s not going

to be reducing the signal going into, as I’ve
got here, the Studer or whatever plugin I

have.

On a stereo aux track, it’s going to be post-insert.

So over here, whatever the last plugin is,
that volume is going to be reducing or increasing

on the fader post-inserts.

I hope I didn’t explain that too janky.

If you want a better explanation, go to YouTube
and search David Glenn Recording — or, David

Glenn Stereo Buss Master Class, and I talk
about it, and I know explained it well there

and a lot more in depth.

But that’s the main difference.

The master fader there is going to be set,
and I pretty much leave that at zero all the

time.

Sometimes, I’ll drop the master fader for
doing video recordings, for the Screenflow

recording to make sure I don’t clip that signal,
but the mix buss here is a stereo aux input,

as is, or are, all of the rest of these on
the screen and everything we’re going to talk

about right now.

So now let’s look at the plugins.

The limiter that I’m using right now is the
AOM Invisible Limiter.

I’ve tried all the different limiters.

There’s a ton of great plugins, guys.

When I bring up what I’m using, know that
if you’ve got the Slate FG-X, that’s an incredible

limiter.

If you’ve got the FabFilter Pro-L, that’s
an incredible limiter.

Fill in the blank.

There’s tons of incredible plugins out there.

This just happens to be what I’m using at
the moment.

I’ve used it for a year or so now, and I really
really like what it does.

A couple of things to note, I go and I drive
this up 10dB from the very beginning, as you’ll

find out next month when I cover actually
mixing a song and importing the tracks and

all of that.

You’ll see that I like to set all of my tracks
to minus 15 before I even start the mix process,

and then I’ve got 10dB of gain right off the
bat that I boost the limiter so that I establish

good gain staging from the beginning.

But I’ve got this set the way that you see
it there, and that’s the last plugin in the

chain, the last plugin that affects the final
bounce, and then depending upon if I’m working

with a really good mastering engineer or whatnot,
I may turn that off, or finagle it a little

bit, but anyways, we’ll talk about that next
month.

But moving on from the final limiter there,
I’ve got the ATR-102 from UAD, and the Studer

A-800.

I haven’t been going to these as of late,
but those are just there for taste, for color,

for options.

Maybe I want to drive a little bit of that
tape sound, and then because I master my own

stuff, maybe I want, you know, the ATR-102
on there as well.

I have used both of these in mixes with great
success, and then I’ve also not used the Studer,

and then used the ATR-102, and like I said,
I have been using neither as of late, so those

are there in the template as options.

You may have the Slate.

Tons of different companies now have incredible
tape emulators that those just happen to be

the two I have.

Invested in the UAD system quite awhile ago,
so I like to get it on with the UAD stuff

there.

Now we’re going to look — we’re going to
jump around a little bit.

We’re going to come back to mix B and C. Let’s
go ahead and give kind of a quick overview.

We scroll up all the way to the top, you can
see click track there, I’ll have that in to

establish a session tempo and update my tempo
from the beginning, because in Pro Tools,

you can open up tempo, tap the T key, get
a basic tempo going, and then I’ll just make

that inactive, but below the click track is
where I’ll import all the tracks for the song

that I’m going to be mixing, and then I’ll
select them all and drop them all to like,

minus 20.

Just so that they’re in the session.

Then I’ll go through and organize them, and
put the drums where the drums go, and the

bass, and all of that stuff where they go,
but to kind of give you a basic gist of my

mix template, I like to see the drums on top,
the very top of the session, I like to have

live drums, then the room mics, and then after
the room mics, I’ll have any beat production

or percussion tracks.

Sometimes, we get a little bit of both in
these 200 track sessions that we’re mixing

nowadays.

So now we’ve got drums, percussion, beat production,
then it would go to the bass over here in

brown.

I’ve got where I’ll split the subs out from
the DI.

We’ll talk about that a little bit later.

After the bass, I’ve got an empty gap here
from strings, tenor, alto, soprano, those

are vocal busses, but from the bass level
just after that, that’s where I’ll drag — I’m

a guitar player, I’m a guitarist, so I’ll
put the guitars first, acoustic guitars, then

electric guitars, and then the main piano
or keys sound, followed by synths, finally

pads, and then any strings, and that’ll all
go there.

Then the vocals will get broken up too.

I mix a lot of live Gospel, CCM, Live Church
stuff as well.

So I’ve got a section for tenor, alto, and
soprano in the template with BGVs.

If I’m mixing something that’s not that, then
I will change the name from tenor, alto, soprano,

and just use this buss as men, women, gang
vocals, whatever, and I just have a couple

of extra busses in the template.

We’ll look at that in a minute as well, followed
by the lead vocal.

My lead vocal processing.

Then the lead vocal effects, and then we get
back to the busses, the mix buss, and then

below the buss processing, I’ve got the instrument
versions of those effects.

More delays and we’ll get into all of the
modulation and widening.

Then my verbs at the very bottom.

I’ve got all of those setup in the template,
ready to go, and then depending upon the song,

genre, session, I may tweak those a little
bit, but for the most part, I’ve got what

I need in this template.

Now, the reason why I wanted to give a quick
look at that in overview is it’s important

to know what’s going into these busses right
here.

I call them the All Busses.

All vocals, all drums, then the drum crush,
percussion, low end, all music, high end,

and all effects.

Pretty self explanatory, but there’s a couple
of little things that I want to detail for

you.

I’ve got to give credit where it’s due.

I was first introduced to this system by Dave
Pensado, Pensado’s Place, some of his early

videos, he talked about his routing and signal
flow and kind of demonstrated that.

I’ve done what I do, I saw him, tweaked to
taste, done some things a little different,

taken some things I did before I even saw
that, taken things that I’ve learned from

other guys like Andrew Scheps, and I could
go on and on with all of the mixes that I’ve

watched and followed and learned from.

But tweak to taste, right?

So I’ve got this system in place, and I’m
going to kind of give you the gist.

All vocals, lead vocal, background vocal,
no matter what it is, if it’s a vocal, it’s

going to hit all vocals.

Sometimes, I will add a little saturation
with the saturation knob, or multiband compression,

or something, but for the most part, I’ve
got Slate Virtual Mix Buss on all of these

busses, and all vocals is no exception.

Then we go to all drums.

Now, this is where things get a little bit
different.

It’s not every drum track.

All drums is going to be sent — if I scroll
up here, it’s going to get the kick — so

it would be kick in, kick out mic, kick sub
mic, any kick mic, however it’s bussed here,

it’s ultimately going to get sent to all drums.

If it’s a kick, same thing for the snare,
and the toms.

That’s it.

The shells of the kit go to All Drums.

Then the hi-hat, the ride mic, the overheads,
the room mics, those all go to the high end

buss.

So if we come down here, you see all drums,
and then you see high end.

It’s very rare that I do it differently, but
this is the basic setup, because I like to

compress the shells of the kit, the kick,
snare, toms through all drums, and then go

to a parallel compression that I have setup
here called drum crush, and that’s where I’ve

got again, VMR for the mix buss.

This is Slate 1176 there as an option, but
it’s turned off, and then you’ll see here,

drum crush, I’ve got all of these options
here.

I’ve got the Vertigo VSC-2.

I’ll pull that open and give you a look.

Sometimes, I go to that for drum buss compression.

The Neve 1073, sometimes I want a little bit
of grit, add a little bit of EQ.

This is great.

I’ve got the dbx 160 from Waves.

I really love their version of this.

That’s there as an option.

Then the new UAD API 2500.

I’ve got that set to the drum crush preset.

I think it was Ryan Hewitt.

Yeah, drum crush.

I still actually haven’t used this one, but
I pulled it in as an option and just threw

a template in there.

VMR.

This is what I’ve been using since it came
out.

Since this one came out, I think it was the
day it came out, I tried it on the drum buss,

I loved it, did a video on it, and yeah.

That’s been the one that I’ve been going to.

So that’s in, and then Trimmer for gain staging
if I need to back off a little bit.

Leave that on, but then I have the FG-Red,
an 1176 from UAD, and then I’ve got this Thermionic

Culture Vulture, which has been a lot of fun
to use on the drum crush here.

A little bit of grain, a little bit of hair
on the chest of the drums.

Sometimes, it can be something where I just
go nuts and increase the mix knob here, you

know, 60%, 70%.

Sometimes it’s 40-50%, somewhere in there,
and then others, it’s barely on, sometimes

I just turn it off.

Especially if I’m doing a Pop/EDM where I
need that super clean kick drum, that’s going

to be off.

Then finally, the good people at Drum Forge,
Joey Sturgis, I can’t remember who all is

involved in that, I know Joel, those guys
rocking with everything that they’re doing.

DF Clip.

Love this.

This has been a go-to for me in more than
just drums.

Been using that a lot on some other things
as well, but having some fun with that one.

So all drums, kick, snare, toms, I will parallel
compress those elements with the drum crush,

and then the high end, I mentioned the hat,
the ride, and the overheads.

The reason why I don’t send those to all drums
is I don’t like that parallel compression

to affect the metal of the kit.

I like it to be something where I’ll treat
those on the track level with EQ and compression,

so the hi-hat, if I want it compressed, I’ll
compress it at the track level.

The overheads, I’ll compress it at the track
level.

I’ve got a channel strip here, we’ll get to
that in the next video, but I’ll treat the

overheads — the room mics, I like to squash
the room mics sometimes.

I like to get a dirty mic in there, get a
mono mic, I may create it from bussing tracks,

and then throw a SansAmp or something crazy
on it, distort it, what’s the one I’m thinking

of — Decapitator is the other one I like
to go to for that.

Parallel saturation — but I like to treat
those there, and then leave them a little

more open than I do the drum crush.

So that’s the reason I separate the shells
of the kit from the overheads and the metal.

That goes to high end.

High end may also receive things like maybe
in an EDM track, if I’ve got some super high

end elements, like cymbal, reverse cymbals,
transitional elements, swirly super top end

type stuff, that’ll go to the high end buss,
but pretty straight forward after that.

Percussion is percussion.

Bongos, claps, anything I don’t want affected
by the main drum buss with go to percussion.

Tambourine, shaker, that kind of stuff.

Low end, pretty self explanatory.

We’ve got the bass guitar, we’ve got the — all
the blend of the bass, so the sub tracks of

the bass, the DI of the bass, the bass amp,
any low end elements, sometimes 808s, they

would go to the low end, sometimes they’ll
go to drums, but more on that when we actually

mix the tune.

All music, the all music buss is going to
be again, pretty self explanatory.

Guitars, keys, synths, lead guitars, electric
guitars, anything that’s a music track, that’s

going to come from the tracks that we import
in, we’ll look at that in another video, but

those are all eventually going to get bussed
into all music, where I will — excuse me,

have VMR that’s on all of these busses, just
set to the standard SSL Brit 4K E, then the

FG-Grey.

This has been on here for years now, and I
just dig it.

So sometimes I’ll do a couple of dB of compression
here at the all music buss, and then sometimes,

I’ll do it at the mix A, which you’ll look
at in a minute, but I’ve got an imager.

The All Music Buss, this is a really cool
tip, sometimes I will push this out.

I’ll just break it down to one band and then
push it 15 or 20%, and then other times I

may do that, and then I may actually copy
this over and have two of them.

One where the first one would be like, 15%
or 20% wider for the music, but that prevents

the stereo image of the drums vocals, percussion,
low end, all of that stuff stays in its place,

but then the music tracks get expanded outside
a little bit so it doesn’t mess with the stereo

field.

The center, the kick, the bass, the low end,
I get to keep that stuff central, but then

the music can just expand outside the speakers
a little bit.

So that would be the first plugin here.

Ozone 7 Imager, 15%-20% there, but then for
the duplicate here, I may push it another

15%, 20%, 40%, 100%, I don’t know, whatever,
get crazy, right?

But then bypass it and then only bring it
in at the hook, the chorus, or maybe the bridge,

maybe the outros, like this exploding outro,
only bring it in there.

I’ll automate that, depending upon the song
and what it’s calling for, but another way

to just kind of create energy, create some
excitement, expand things a bit to automate

the imaging plugins on the all music buss.

You can see, I’ve got some other plugins here.

I’ve got Center, same kind of thing, I haven’t
used that in a long time, but Pro-Q, if I

want to do any surgical EQ.

I’ve got the Clariphonic, I use this quite
a bit from Kush.

I love what this does to the top end.

You can see that there, Focus and the Clarity,
basically I just shove that up really high

to where it’s just exaggerated, then I’ll
pull that all the way down, throw it back

up, kind of toy with the balance a little
bit until it’s less of a heard effect, and

more of a felt top end, if that makes any
sense.

Maybe just me and my craziness.

But that’s there on just about all of these
busses.

I do that quite a bit on the drums as well
with the Clariphonic, and then the all music

buss also has this Bluecats Patchwork.

Let’s see if it crashes on me.

Nope, we’re good.

Okay, and it’s missing right now, but basically,
I’ll throw a saturation plugin — I love

the UAD Studer, and I’ll throw the preset
effects deck — excuse me, effects cassette

deck.

Shoutout to Tony Maserati, he mentioned that
on a video a long time ago, and I’ve been

using that like crazy, and so basically, it
gives me a mix knob for plugins that don’t

already have a mix knob, and that is an incredible
tool for the all music buss.

Sometimes on the drums as well, but at least
it’s there, and I can copy it over or use

that parallel saturation for plugins that
don’t already have a mix knob.

Moving on from the all music, I’ve got the
all effects down here, and it’s just like

it sounds.

The vocal effects, the modulation, delay,
reverb, saturation effects, any of those setup

in the template get bussed to the all effects
section, and I rarely touch this.

This is almost always for volume where maybe
I’ve got a vocal that carries over, some verb

splash or something, and I want to shut that
off, or I want a little less effects in the

verse, maybe a little bit more in the chorus.

I can then control those from a global standpoint
here on the all EFX track.

So again, ripped that from Dave Pensado years
ago, but that is the basic layout of those

tracks, so we’ve got the water flowing down
hill, the routing and the signal flow from

these busses.

It’s also important to note that I can’t remember
if Avid fixed this.

This is an old glitch that knowing Avid, forgive
me, but it probably still exists.

There’s a latency problem, or has been in
the past, I’m not sure again if it’s fixed

or not, if I send, let’s say the kick and
the snare and all of that stuff goes to all

drums, the bass goes to low end, my music
tracks go to all music, but let’s say that

I forget a set of guitars, and they just go
to the mix buss.

They’ve — I forget to put them through to
the all music and they go to the mix buss.

There used to be a latency error, or a problem
that would happen, and it would cause phase

shift, and it would just — it wouldn’t play
nice.

Things would get nasty.

So I would make sure, I still do, that every
single track in the mix, whether I buss the

kick in, kick out to a kick buss and then
it goes to all drums, or the acoustic guitars

to an acoustic guitar buss, whatever, they
go every track, makes its way to one of these

blue all busses.

Every single mix I do.

Nothing is ever sent directly to Mix A, and
so that’s important to note if you’re on Pro

Tools and you do get some phase or latency
issues, that could be what’s happening is

you have some tracks that are not hitting
some stereo auxes, they’re going straight

to the aux master, and again, I’m not sure
if they’ve fixed that or not.

Okay, so now let’s talk about Mix A. The first
plugin is VMR.

That’s the Virtual Mix Buss.

Again, I don’t touch it.

It’s just in there.

I’ve just used it for forever now, I love
what VMR does — or, excuse me, what the

Virtual Mix Buss does, and I don’t touch it.

It sits there.

You could experiment.

Some of them you get a low end bump from the
Brit N, the Neve.

I can’t remember, there’s a mid-range thing
in the A, a couple of different things.

A little more grit maybe from the RC-Tube,
etcetera, but that just stays there for me,

and then I have this API 2500.

I’m excited to use this.

I have not used this yet, but I’ve got that
in, I’m pretty confident that’s going to be

a fun one to experiment with for buss compression,
but I’ve been going to, for awhile now, the

Plugin Alliance version of the VSC-2 brainworx.

Vertigo Sound.

So this one, I’ve got a video online on how
to setup a buss compressor.

Pretty good video.

Go check that out.

Kind of walk you through what I’m thinking
and why, but go ahead and run a search.

David Glenn buss compression, and you can
watch that and that’s been my go-to buss compressor.

Moving on from that guy, we’ve got VMR again,
because I’ve been using Revival.

You probably already know this, but just in
case, if you don’t already know, go to slatedigital.com,

and as long as you have an iLok, Revival,
this guy right here, is free.

There’s no good reason that this plugin should
be free.

It’s one of my favorite plugins.

I really, really love what’s going on behind
the scenes.

Whatever the recipe is that Fabrice and Steven
Slate have going on back in the algorithms

with this guy, it sounds incredible.

I love this.

Vocals, anything that needs to come forward
in a mix, the harmonic excitement built in,

the Shimmer is absolutely incredible, and
I’ve got a little bit of top end and a little

bit of bottom boosted from the very beginning.

I never touch this.

I don’t think I’ve ever touched this on the
2buss, and then I follow it with a high lift,

which may be getting replaced.

I just picked up the UAD Chandler — what
is it, the curve bender you can see here.

It’s all neutral, it’s flat, but I’m pretty
sure I’m going to be experimenting and loving

what that does.

I’m sure this does something just by being
on, but literally, just before going live

with this video, I added the API 2500 and
the Curve Bender to my template.

So moving on from there, we’ve got the Ozone
7 Exciter.

Now this guy is something that was a part
of my template three or four years ago.

Again, shout out to Dave Pensado, he had a
preset that he had on his 2buss.

It was Hip Hop basic, and it was built into
Ozone 5.

So if you have Ozone 5, the preset Hip Hop
Basic, this is one of the only things remaining

for me from that Hip Hop preset that Dave
Pensado, shout out, and it does very little.

It’s very subtle, but I don’t know, it’s like
a comfort thing.

Knowing that it’s there, I’ve had it on for
a long time, and it’s there.

Bypass that, and it really does not do that
much, it’s very subtle, but I have been afraid

to take it off.

It’s just something that I’ve mixed through
these plugins for so long now, I just kind

of rock with it.

But you may try out — you may have a different
plugin, a different exciter you may want to

try, just you know, consider 10-15% of that,
and move on.

But now, some good stuff here.

So we go from the tracks themselves, the drums,
the bass, the keys, guitars, etcetera.

The vocals, all the way through to these all
tracks.

All vocals, all drums, right here.

These, you can see feed to what’s called the
sub master.

Back, Pro Tools version 5, or something, I
did the Expert Certification here in Orlando

through a little Pro Tools certification class,
and the instructor called the stereo buss,

or the mix buss, the sub master.

So go figure, it stuck with me.

Sub master, stereo buss, mix buss, same thing.

But I’ve got — it actually makes even more
sense now that I call it the sub master, because

these tracks feed the sub master, which is
Mix A. Mix A is where all those plugins are

we just went over, and then that track feeds
what I call the paramix, or parallel mixes.

This is a send, you can see it there, pre-fader,
it follows the main pan.

It’s a copy of this signal coming out of mix
A, and it goes into mix B and mix C.

Let’s turn these on.

Now, mix B, I didn’t use to call it mix B,
but it was a parallel compression buss that

I had setup, and then Bob Horn comes along,
and his course over at Pro Mix Academy, he

talks about his 2buss processing, and he called
it mix A, B, and C. A being the main signal.

So the clean processing that he would normally
do on a stereo buss.

B is parallel compression, and I’ve got the
UAD Fairchild.

I love this.

I typically leave it on time constant 5 or
6.

Five gets a little more energetic, if I remember
correctly, six is more — ah, I think it’s

the other way around.

Maybe.

I get them confused, but I just switch between
these two, five or six, and I’ll hit that

really hard.

So basically, I can mute mix A, open up just
mix B, crank the fader up, and then my mix

is soloed through this mix B here with the
compression.

I can just hit it hard.

Then, I can get that sounding good, get the
compression working the way that I want, and

then I can mute it, pull it back down, technically
you don’t have to mute it, but then I unmute

mix A, and then I’ll blend in that nice, fat
parallel compression to taste.

Even further than that, I don’t use this very
often, but it’s awesome to have in the template,

you’ve got mix C here.

Mix C, thanks to Bob Horn, is parallel clipping.

So I’ll do the same thing, we’ll unmute that,
we’ll snap it to the top, mute mix A and B,

so they’re both off, and all you hear is the
clipping.

I’ve got the T-Racks Classic Clipper.

My buddy Neil Devereaux swears by — slurring
there — swears by this one.

He uses this in his parallel clipping.

But K-Clip, my buddy Joey Fernandez swears
by this one.

And they have a new version out, I’m a little
bit behind, I’ve yet to update it, some more

features, which should be pretty cool.

Basically, you just get this right.

So this is just for level.

It’s going to be just noise.

It’s going to be a crushed version of the
mix, and that’s going to allow us to just

increase the final output.

If you want to get hot, you want to get involved
in the loudness wars and that debate, have

at it, but this is just going to be another
option for us, another tool, and I’ll get

that sounding pretty good, drop the fader
all the way down, unmute mix A and B, get

that blend where I had it, and then just blend
a little bit of this if I want it.

Again, I very rarely use this, but it’s awesome
to have in a template.

So mix B and C, there you go.

A, B, and C get blended and they go, you can
see all of them are — the three of them

are routed to the mix buss, which is where
we talked about the Studer, the ATR-102.

This is where I’d have the Matching EQ when
I commit to a curve, I’d drag that up here,

then the final limiter.

So that was a mouth full.

I feel like I need some throat coat.

For you guys out there producing vocals or
recording vocals, you’ll know about the throat

coat.

Some tea with some honey, but I’m going to
go get that.

We’re going to move on into the next video
where we’re going to start looking at the

individual tracks.

So I’m going to open up the kick track, I’m
going to look at that processing, and kind

of explain to you how I set my DAW up like
a console, so I’ve got my favorite EQ, gate,

dynamics processing for the different tracks
and the different styles, and they’re all

there ready to go, and I’m going to break
down all of those, and then you can just follow

along and swap out.

So you may have already pulled open your template
or the one I’ve provided for free at davidglennrecording.com,

and you just swap out these plugins for the
ones that you like.

Maybe you’ve got a tape sim from another company,
and you throw those in there and just make

them inactive, and it’s there and you’re building
your template along the way.

So next video, we’re going to take a look
at individual tracks and make our way through

it.

I hope you guys are enjoying this, I hope
you’re learning something, feel free to post

comments down below, go to David Glenn Recording
on Facebook, facebook.com/davidglennrecording,

post your questions.

I’m going to be doing live Q&A, and then don’t
forget to download the free mix template and

free multitracks.

We’re going to be using those here in a couple
of weeks.

The series may actually already be online
for those of you guys who are a little bit

behind, and tons more to come next video.

Thanks again.

Like, subscribe, share, all of that good stuff,
and we’ll see you breaking down each of the

different channels in the next set.

Mix Template Series — Stereo Buss Processing (Part 2)

Download the mix templates ➥ http://mixtutorials.co/templates // In this video, David Glenn gives you an updated stereo buss masterclass on steroids // Part 1 of The Mix Template Series: https://youtu.be/AVDUunLvCco // More videos on stereo buss processing: http://bit.ly/buss-processing

About The Pro Audio Files

Tutorials on mixing, mastering and producing music in Pro Tools with plugins from Waves, FabFilter, SoundToys, Softube, Sonnox, PSP, Slate Digital and more. Learn how to mix using EQ, compression and effects like reverb, delay, saturation and distortion on vocals, drums, guitar, bass and more.

Mix Template Series — Stereo Buss Processing (Part 2)

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