SO. When I get back I am going to be mixing/mastering lots of stuff, I will be recording multiple bands as well as putting the final mix brand on a bunch of the things I have been working on over the past year. I really only have a few things besides the stock Reaper VSTs, and really only actually use those.

So what I am asking is, of which there are a few things:

What things are you fond of for these purposes? I am totally willing to shell out cash for this stuff, so free is not necessary, though it is still welcome. Also, these things need to be Apple friendly.

Most generally, what do you find yourself doing to tracks/your master buss? I realize that every situation is unique, but any general tips would be appreciated.

Also, recommended reference monitaurs? I always mix with my headphones and it totally fucks up my perspective. I always end up mixing drums way too loud and whatnot as a result.

Also, I realize I could just dig through the forums and find these answers. But I figure you dudes might have changed a few things over time/gained new knowledge and plus I like watching these threads grow and having different perspectives kicked in, so ya know. Yeah.

I'm a fucking hack at mastering, so take this with a grain of salt.

My master chain typically goes something like this:

ReaComp set lightly, like 2:1, to lower the peaks. This is 'mastering glue'.
ReaEQ, because my mixes pretty much always need more of something and less of something. Generally, they need way more highs and way less lows.
ReaXComp, multi band compressing dat shit. Giving four bands their specifically required kind of love.
Kjaerhaus Classic Master Limiter, smashing everything flat and loud.

Then I listen to it on multiple devices, comparing it to other mixes that I enjoy, making EQ tweaks generally.

Mastering is a black art. I'm always fooling with something and never really use the same setup twice, if only because it's all one big experiment.

I've liked Cytomic's The Glue at times; sorta an idealized plugin take on an SSL master buss compressor. It has a parallel function, sidechain and a few other bits. I prefer it to the Waves SSL buss comp, FWIW. I also like it for general-porpoise beating up on drums and drum machines. Free trial. http://www.cytomic.com/glue

Most of the mastering-oriented things like multiband comps/limiters I can't really make do anything useful to my ears most of the time. This I like; a little more 'spensive than The Glue; I've used it as a general porpoise track fattener too: http://www.sonnoxplugins.com/pub/plugins/products/inflator.htm Needs an iLok though. A lot o' folks (Waves, Soundtoys... people who make useful shit) are moving away from iLok, so how valuable one would be at this point...

Also a little more 'spensive than The Glue (though less than Inflator) but with a lot more features: http://www.voxengo.com/product/elephant/. I've been curious about this guy. The metering seems really, really nice. Speaking of which:

A metering plugin that'll display both peak and RMS levels is more-or-less invaluable. Logic has one, stock, that works alright, though the RMS settings seem like they're K-weighted by default, which is a little puzzling to me- I don't know what my reference should be re: proper RMS levels using K-weighted metering!

I've experimented with parallel processing, too; having a compressed mix behind the normal mix, blended to taste, as well as using a stereo widener on a copy of the mix and blending that as well, with varying success or lack thereof.

Free shit that's Apple-friendly is thin on the ground, but there are a few things out there. Most of which are useless for mastering applications. I'll say that everything that comes with Logic is useful. Like, literally all of it, down to the amp sims, convolution 'verb, drum machines and synths, etc. Logic Pro X is just two bills- Pro 9 with all the goodies was a lot more.

Re: monitauring, it's a personal thing. Anything that says "Yamaha" on it hasn't let me down yet, even the little HS5Ms (discontinued for a slightly updated version; probably snag 'em cheaps.) The bigger HS8Ms (see previous; snag 'em cheap) are well-thought of and a couple people around these parts have or had 'em. More or less all Yamaha stuff is a safe bet; the MSP is their current somewhat-nicer-than H/HS series. Anything ADAM is good stuff, though getting pricier (their F-series is their budget line; an older pair of A7s or a pair of A5Xs might, might be found in a reasonable range.) I don't normally like KRK stuff- too boomy- but I do like their VXT line. Never thought much of M-Audio's monitors. Mackie, I haven't heard enough to judge, just the big 8" ones in a fairly small room.

I haven't used anything Genelec or JBL in long enough I forget how they sound. JBL has a rep for being bright though. I haven't tried anything Dynaudio or Focal, but they are highly thought of and a used set of BM5s or CMS40s could turn up.

Here's a list o' monitors to browse: http://www.sweetwater.com/c405--Active_Monitors

I'd say take your portable device or burn a reference CD of mixes you like, go down to the local GC or equivalent, and listen on what they have set up.

I actually do a lot of work on 'phones and can usually get a pretty good rough mix that way (I think I may prefer them for dialing in tones), but I always need to finish it on speakers. And it always winds up sounding better balanced in the 'phones that way afterward, go figure. The bass is the big thing for me that I need speakers to get right.

I use a multiband comp to bring out something needed, and basically I use one of 2 or 3 Tessla plugins to bring out some fullness, There's TesslaPro and TesslaSE here's a link to one of them

http://www.softpedia.com/get/Multimedia ... aPRO.shtml

You dooders are the best. Will have to get ahold of some of this stuff when I've a somewhat solid internet connection, which probably won't be until I get home.

Alsoalso, what general purpose compressors and EQs do you guys dig? Free or notfree.

Yr welcome, Mr. Hell.

General porpoise comps/EQs, unfree/enslaved:

Logic Pro suite. All effects in that thing are totally usable. Not free at all, but considering what you get in Logic Pro for two bills- a complete usable set of effects, a DAW with great sequencing/editing (IMO, I prefer it to PT for editing, and some of the workflow improvements in X make me seriously think about upgrading from 9 when I have money again...) softsynths and drum machines that are actually good, ditto ampsimps, Space Designer (convo 'verb- the Bricasti impulses are free and absolute gold; there's some trippy shit in the stock library too) Delay Designer, etc...

Waves API 550B. Waves ain't cheep, but they don't need an iLok anymore. This is my go-to chainsaw EQ to wreck the fuck out of everything. Waves API suite costs some bank, but you get three good EQs and a great comp (550A and B 3-and 4-band semi-parametrics- 2dB stepped gain, fix'd frequencies. Not subtle. Made of Rawk Damage; 560 graphic and 2500 comp, which I've neglected until recently. Great drum comp and it's been rumored it's good on the master buss.

Plugin Alliance Maag EQ4. Boost everything. Fix'd bands, stepped gain. Very musical. Less chainsaw than the API; sweet vs. aggressive. on snare, OHs, guitars. API wins for kick and bass. Vox is a tossup. This is s'poda be a killer vocal EQ, but I like it better on instruments. I also like glossy popvox, so YMMV.

Basically, give me a 500-series console loaded with half a dozen of each and I'd be happy. A girl can dream, can't she? That's five figgers worth of EQs though...

Softube Valley People Dynamite- SMASH COMP. HULK SMASH EVERYTHING. Also, makes a nice expander/gate. Push the output for some cool distortion. Even when used as a gate. I've repeatedly tried and failed to buy these as hardware units. Had I a real desk to mix off of, these would basically be on the inserts for kick in and snare top at all times as necessary. Uglycomp. So not so general-porpoise. Softube also still wants an iLok.

Softube Tube-Tech CL1B- my go-to for bass guitar and snare, occasionally other things. Generally a nice, thick compressor that doesn't get in the way.

Waves CLA compressor bundle- 1176 (blackface and blue stripe), LA2A, LA3A. I've still never figger'd how to use an LA2A properly, software or hardware; 1176 is a breeze though. LA3A is great for smashing guitars, even dirty ones. It does A Thing.

Along similar lines, Softube FET compressor. Like an 1176, but With Options: sidechain + filters, parallel mode. YMMV here.

Waves NLS- not really a compressor. Console channel modeling; saturation/distortion... Also, IMO, the best software comp you'll never hear. I literally use it on everything. Like, every goddamn track. Crank the drive control (with proper gain staging going in) and hear shit come alive. All three modes (SSL, EMI, Neve) have a distinct character that gets more prominent when pushed. Add separation to your mixes; fatten shit up real, real nice without sounding obviously compressed. My most used plugin in that I don't mix without it on all tracks. Low CPU usage, too, surprisingly enough. I'll bounce everything down with this already in place once I've edited things. It makes things Sound Like A Record.

This is basically what I use on everything, along with the Soundtoys plugins (Echoboy- bast delay evar- and Decapitator; I misspoke; they are iLok as well.) These cost money, I hate to say. It's also a pretty good rundown of my rig, or, at least what I use most often in basically every mix. These are all, with the exceptions of the stock Logic EQ (the comp gets interesting...) "color" pieces.

None of this stuff should bog down your CPU, with the possible exception of Echoboy and Decapitator. I don't have the new 64-bit versions though for compatibility reasons, running a hack system and all.

Also, re: 'phones, I've found it handy to have broadly similar-sounding 'phones and monitors (the Grado/Adam pairing translates well) and to do the "check on alternate monitors" thing- yeah, there have been times where I've had monitors, a hi-fi, computer speaks, good headphones and dollar-store earbuds all rigged up, and then listened to the thing on built-in laptop speakers. Overkill? Nah. Then you know it works. This is what multiple outs on your inyourface are good for. My halfass monitor controller is the volume knob or on/off switch for any given thing connected.



I should probably put up some samples of these.

Your thorough answers are very much appreciated, Eric. Quite a few things I have checked off as "Kay, need that shit" and the nonfreeness is no bother. I had assumed that that would be the case for The Real Good Shit. As for the samples, not really necessary as I've a pretty good idea what these things sound like from all your clippage over the years. Even having heard raw tracks versus processed stuff of my own playing/recording. But I mean, if you want to I won't stop you. Can't say I'm not curious what something with and without NLS sounds like difference-wise.

Well I guess I can chip in with a word or two about plugs I've been digging. This is coming from the 'aint paying shit for my VSTs' side of things.

ReaComp is great. It is a very flexible precise tool.

ReaEQ, the same.

Stillwell Rocket is an 1176 sort of thingie. Lately I use it for less transparent compression, like snares. It pleases me.

ReaVerb is a fine place to load of reverb impulses. Most of my drum recordings lately have had a 'drumroom' impulse as an aux channel, sending close mics and room mics to it.

I am not a very complicated person when it comes to mixing.

I do indeed like the stock Reaper stuff for what they do as they do them well, I am just looking for more "color" sorts of plug-ins. Reacomp and Reaverb will still probably get use from me, as well. I don't know if I am going to bother with getting anything reverb related, as I tend to get that in the room when I need it. However, I know Snax-O is way into that Bricasti shit, so maybe he will chime in on how big of a difference it makes. I was thinking about snagging the following:

Cytomic's The Glue
Waves API 550B
Maag EQ4
Waves CLA Compressor Bundle
Softube Tube-Tech CL1B
Waves NLS

I have no idea what this is gonna cost. But I mean, fuck it, I guess. I will have it forever and I plan on hopefully getting really good at this and making a possible future career out of it, I just need to practice/record as many bands and myself as possible and gain a discipline and ear for this shit. I am young/eager enough that I hope I could maybe grow a portfolio of my work and get a job as bitchboycoffeegetter/engineer's assistant or whatever. I don't know though, just a thought.

A hefty chunk o' change. That being said, those are all demo-able, and Waves' current online demo/registration whatnot is pretty easy to use. The EQs, CLA and Tube-Tech compressors are pretty unsubtle- or easy to use unsubtly; easy to paint with a broad brush, but there's really quite the range of things you can make 'em do. Definitely demo them first; I'd suggest on something you've already mixed to A/B and see what you can make 'em do.

A good portfolio combined with skills and a solid gearlist ain't a bad thing to have.