Hi, welcome back. I'm Streaky. Today, I'm going to show you a really handy little trick, super simple, really easy to use on your mix bus. Now, when you want to use this, it's when you've got the balance of your mix sounding really good. You're really happy with it. You don't want to go for a full master on it, but you just want the mix to pop a little bit more. You want it to sound a bit lively, not mastered. But just so that it's not flat, it's not boring. It just pops out a little bit and gives you a little bit of energy without doing too much. Because obviously you don't want  to start pulling your mix about too much. Because you like that, but you just want it to pop a bit. You could put a limiter after this. If it's just for a reference track, but this will really help it sort of zing. You'll hear that in a second anyway.

Let's dive in and I'll show you exactly how to do this. So here we are inside of RX 9. I've banged a track in. I'm just using this, because it shows you how it would be if you had it on your stereo bus without thinking about any of the other channels. It's easy to do it in RX so you've got your flat mix. Now, I've chosen this plugin by slate. I really like it. It's the FG-MU. Which is a compressor type, Fairchild vibe, I'm guessing. And what I'm going to do is I'm going to use this in the way…the reason I like this because you can use it in M/S mode. So I'm going to use, so let's just set this up. I'll show you how to set this up.

If you're not using slate plugins, you should really because they're cheapest chips and you get loads and loads of different types of stuff. And personally, I think they sound pretty good. So definitely worthy. I think, it's like a 10 or a month or something ridiculous. So grab this EQ. First of all, get the standard glue setting up. Then go to the left hand side and make sure the meters are selected in gain reduction, GR. Then do the mid side on that side there. Then that what that means is, it's going to put anything that's in the middle of the sound on the left. And anything that's in the sides, it's going to be controlled on the right. So because we want to do different controls. Let's turn the stereo link off so that we can have these as independent things.

The reason why I've chosen glue is because it's set up the attack and release. It's sort of a halfway on attack. So lets the transient come through. And then the release, so that it works really fast and it's not holding on to the sound at all. Now this side in the midsection, I don't want to be like…if we're gonna compress it a little bit and give it a little bit of punch. I don't really want to be touching the low end because the low end is the low end. And if I start touching the low end, it's going to  make the rest of the track pump to however the low end is. So let's just use the high pass filter and filter about 150. So anything under 150 is not gonna get hit by this compressor. And then let's do the same with the outside too, because we basically just want that and put that to 200. Because we want that just to be doing some nice little liveliness in the right hand side. In the right and left, the wide stuff.

So, let's just bypass this and listen to the track that I've got going. It's standard thing that I've got. (Playing music). So you can hear poppy thing. (Playing music).

Okay. So that's enough of that. And so what we want to do, these meters are moving far too much at the moment. So let's just bring down the threshold that's in the middle. Well, we're at the stage because we're  mastering mix bus mastering stage. Where it's very small amounts will make a massive difference. So when we got the threshold, you just really don't want to see the meters moving too much. Still playing. Let's just, so they're moving a bit. Now, what I want you to do is then move the mid in zero for the output and also keep the outputs completely to zero. Sorry. And then on the input, just add like half a dB to a dB of gain on just the outside. So what this is going to do is going to spread the stereo out a little bit, but it's gonna keep all this solid stuff in the center.

So what we're trying to achieve here is really bit of movement in the outside. But then keeping the middle really focused. And so that's all this is going to do and it's very, very simple. So we're just going to open that up by a db. So it's just bringing that out by dB. It's really spreading it out dB, not a lot. And then we're just leaving the mids and we're going to play with the thresholds until we hear that it's moving, but not too much. We don't want it to suck. We want it to move so that it really even. So I'll play with that. Watch the screen and I'll show you, how that's working. (Music playing).

Okay. So as I'm playing with that. I can actually hear that as I'm bringing the outside out a little bit. The vocal was pushing in a bit. So what I'm going  to do is bring the input up to the same as the sides, but then just bring the sides out a little bit more, and the output rather than the input. And then that way we're bringing that level out a little bit. We're not going to lose the mids because this has got quite a bit of flavor to it. This compressor it's like warming it up a bit. So it's quite nice just to push into it a little bit more with compressor because you get that warmth. And that'll bring it out in the vocal as well in the midsection as well as the outside. So let's do the stereo width lift on the output rather than the input. But then just push the input a little bit with…so we get a little bit of that juice from this compressor. Now you'll hear the difference between the two. It should sound pretty good by now. (Music playing).

And there you have it. You see. So you can hear this massive difference, but it's a very small amount. I mean, mainly we're just pushing into this a little bit with half a dB on the mid side. And then we're just leaving a little bit, another half a dB on the outside. Just to give it that extra lift and you can hear how much it spreads the sound. And also gives a nice bit of clarity and liveliness to the whole track without really doing too much. Smack this on your mix bus and is going to sound superb because it's not gonna ruin the whole balance of the track. It's just gonna make it a bit more lively and less flat.

Now, if you like this video, please press the like button and subscribe to the channel. And I always do stuff like this and reviews. If you wanna see any other tips and tricks, then don't forget to watch the rest of my videos and I'll see you next time. Thanks for watching. Bye.

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