Hello just a simple question, please:
In a given drum bus with precomp eq, compressor, limiter, postcomp eq where would you put a tool like the BX control (using both the mono maker and stereo width).
And on a master with eq, multiband comp, comp, eq, limiter?
I use image tools mainly on the buss, not on the master, never on bass even if I've seen people opening the highs a bit.
Would you put another BX Control on the master too? Too much?

I think it should be in the first or second insert, just after some precomp eq. (In some analogue console it's like that, or in the master strip). But honestly even moving it to the last insert I can't hear the difference. Thank you

 

really no clue? sorry I don t want to insist, I know I don t have to give an eventual reply for granted but I'm just curious about this.

I'll try to put it in simple terms: where would you insert a Brainworx BX Control?

eq-bx control-comp/limiter
or
eq-comp/limiter-bx control

thank you in advance

 

Not sure what Bx Control does - a quick google search didn't give me easy/immediate enough results but I'm going to assume it's your stereo imager given the context. I don't know of any rules for this sort of thing. To me it has always made sense to put stereo imaging last when I use it at all - just applying some spread to a sound that is otherwise fully processed.

However, now that I think of it, I guess it does make sense to put it before a compressor. Here's why: with most run-of-the-mill stereo imaging plugins, when you spread the signal the volume in the middle drops. So much so that if you turn stereo width to 200 in Ableton's Utility device all you're left with is the sides. So I guess if you want to bring that back up you could compress it.

I guess the answer is, like so many other things, it's up to you.


Alternatively, you could use Mid/Side EQing to spread the signal. Or Left/Right. dip the highs in the center of the signal, raise them on the sides. Or do something similar in left/right. After all, perceived stereo width is just your brain's response to differences between the left and right signal

 

hard question, I tent to use widening on individual channels also.
In most cases, if I like what it does to the stereo image I tend to narrow the other channels in stead,
and pull the "artificial" widening back.

Not because it's better from a technical standpoint, but it sounds better in most cases.

 

I'm not a fan of extra wide mixes
Honestly I wouldn t use em at all (but the mono maker is useful as a true mono switch on a console)
the pan and the image are ok printed as they are, if you spend some time on that and use dual mono techniques.
but u know...
usually I open up everything but bass, max 130-140 on the Bx control
drums are not so wide, while guitars, vocals and keys a bit more

I've seen tutorials of analogue gear mastering, they use wideners after a first eq to low cut and open low and high end a bit with shelving eqs, and a light compression.

I wonder also about the use of a multiband comp, pre or post?

In console like the Maselec the onboard width/monomaker can be first or second in the strip

I have a summing mixer with a true mono switch, and a huge image, but 1 channel is faulty now and I fear further damages so it s off by now, gotta send it to the doctor

 

Kwissbeats I do the same lol
also on dual mono vocals, synths, guitars buss, I open the width and close the pan often, less phase-correlation issues, same effect

 

Bus and last insert

 

yes CavEmp your guess is right, thanx for the reply

 

message to TheRobot: copied, over and out
thank you

 

CavEmp in the tutorials I ve seen it s eq comp Dangerous Bus widener, then comp and eq on mid and sides

 

in the Maselec there are 3-4 other inserts after the widener
so... yes post compression

 

It is really up to you and what you find works best for you, Adding some additional stereo width via Brainworx plugins is a doddle because so long as you don't go overboard with the Mid/Side encoded difference portion it remains in tact when folding down to mono. So all I'd really advise is that you check vigilantly with your mixes' mono compatibility, As long as you do that then you won't have any headaches, Also be sure to check on your monitor setup and your headphones as what can sound really good on one can sound/translate really crummy on the other, So it is like all other areas of mixing/processing; Finding the compromise or "sweet spot"

I often have few dedicated buses/aux returns dedicated to mono/sum and side/difference for a lot of control (Some might say that it is overkill but I find it quite beneficial, Usually on ambience/reverb and compression/smashing sorts for sorting out the width I'm going to utilize, Plus it enables of course to treat each a little differently even if the plugin's used are the same. I'll group each so that I can easily raise the mid punch with all critical elements along with the other allowing me to raise detail and spatial trickery)

Hope that helps/Is of some use despite not directly saying where I believe and find it best to utilize the same tool because it honestly does vary for me. All the best

Dean

 

sure that it s helpful, thank you for the detailed explaination!
what plug do you use, if I may?

 

overboard sorry... do you mean outboard, analogue?
do you bus out to some analogue device?

 

Ah, lost in translation. Overboard just means too much.

 

ok thanks