I stopped using C4 completely a couple of years ago - I just started to find that I preferred the sound by mixing better, and now days I use a limiter pretty much exclusively to catch momentary overs. IMO if you are feeling the need to start 'maximising' with L1/2 then there's a good chance it could just be mixed a bit better. I use EQ almost always to cut, so invariably I end up with more headroom on everything, then I follow EQ on most tracks with compression, sometimes extreme as an effect but mostly subtle, so I tend to find things are plenty loud enoughnebulae wrote:I've tried this method, but I find that if I do this too soon (meaning before I've recorded all my parts) then I'm making adjustments without any bearing. For example, if I have a limiter on the master chain, and then I realize I need to add more guitar or vocal parts, then to issues occur:knotkranky wrote:^ Agrees with SJ
One trick that always works for me is to mix into the main buss mastering plugins from the start. C4 > L2. I set those up first. That way after a hard fought mix you don't throw that stuff on and suddenly have a different mix. Basically, my mastering plugins are always on and that way you're only mixing, mastering is already done so to speak. ITB mixers who do these in separate steps don't realize they're still mixing/mastering in the old console mix style. That one's on the house.
1. My recording mix isn't accuracte because I'm hearing it through the limiter, and
2. Most likely, the limiter adds some plugin latency, which is messing with my timing.
I agree that this isn't a bad way to mix, but I wouldn't add mastering plugs in the Master channel until you're about 80-90% done with your mix, and you're just putting in finishing touches.
But that's just my method - you're could easily be better for you.
so I totally agree with KKs point about mixing being more important - although saying that I'm sure any good mastering engineer would still make a big difference to anything i mix - if only because I have only NS1os.
Interestingly going to the mastering suite when one of my tracks was mastered for vinyl a few years ago and picking the brains of the engineer and just being there and hearing my mix translated onto their gear probably made quite a difference to my mixing
A good book there worth checking out is "the mixing Engineer's Handbook" by Bobby Owsinski - apart from being a generally good read, a big part of the book is made up by interviews with quite a list of big name mixing engineers and he's quoted relevant bits of the interviews in line with the points throughout the chapters so you get to see their take in context. Highly recommend itleedsquietman wrote: I would definately like to see more articles on good recording and mixing practices by the pros too.
GAFM ***