For those of you who have been doing this for a while- do you you normally process your tracks further after exporting them to your DAW? I am specifically referring to comp and eq mostly. I normally export my tracks dry and center and do my panning during the mixing phase. I don't normally do any compression, eq or rev. To my ears, the tracks sound good right out of the box. Vocals are another matter of course but they aren't generated with biab. I'm interested to know what other users do. Most of my songs are folk/bluegrass/accoustic type music w/o drums. One exception- I occasionally put a high-pass on all tracks but the bass and light compression on the final mix. I'm still fairly new at this and have much to learn- especially processing and mixing vocals.

I think that is about the perfect template. In addition to what you are doing, I set the volume on the BIAB tracks to their max before exporting. Even then, some still need a volume increase once in the DAW for mixing.

And, then it all depends on what is in your mix. I don't use much processing on the BIAB tracks - some light EQ on acoustic guitars and piano to get a bit more "sparkle" from them and to help them cut through the mix.

I do drop a Studio One preset called "S1 Drumgroup" on the drum track - it includes an EQ and a multiband compressor - and gives the drums some separation and oomph.

I also will add an EQ and slight compression to the bass if I feel it needs more definition.

And, like you say, the vocal is where the most work gets done - generally a longer chain of processors - EQ, compressor, delay, reverb.

There's no one-size-fits-all, of course, and there are many different ways to get to the end of the tunnel... in the end, if it sounds good, it is good...

Great advice there from Floyd Jane. BIAB tracks don't NEED processing, but you might want to tweak track sounds to suit your project. You might also want to 'glue' your tracks with BIAB tracks through your sends eg reverb. (Remember to kill reverb when you send tracks from BIAB.) Light processing on your stereo bus doesn't hurt and may also help with glue.

I normally end up with 2 or 3 FX on each track. Also a couple more FX using a buss.

Do what sounds good for your sound.

(see sig below)

High pass filtering on most tracks except kick and bass is a not so secret start to a great mix. I have that prior to pan and volume and then delay and reverb sends post fader in my template for all channels.

I process all the RT's and RD's that I use. And that includes our bluegrass productions. I generate nearly all biab realtracks mono, centered and dry. Sometimes I generate electric guitar tracks as direct input and use Logic's amp sims and/or pedals on them. On our recent post to the User Forum I used an overdrive amp sim on the harmonica. I sometimes use Ozone's imager to enhance on pianos (one instrument that I typically render in stereo). Everything is mixed in Logic Pro X.

FWIW I mix for a sound that feels live - or at least how a band would sound being recorded live in the studio. Toward this end I find that various combinations of eq, reverb, delay and compression help me achieve this feel. I use the EMT 140 Plate reverb sim on all tracks but I never use reverb on the final mix. For instrumental tracks I start with one of the presets from Alloy 2 for the respective instrument and then modify it for the particular mix. On occasion I'll use Waves multiband compressor on a track.

IMO and for my mixes this helps me allow the respective track to "sit" in its respective place on the soundstage without stepping on a neighbor but not seeming isolated either.

I put a low end shelf on about everything track to reduce mud (learned from floyd). My mastering of the final mix via Ozone 7 is primarily to add some compression and if needed clean up any vestiges of mud. I use minimalist settings on the mastering presets to achieve this.

My mixes always use a small number of tracks usually 4-6 as I'm not accomplished at making more dense mixes work and the above seems to work for me but I'm light years from being an expert.

And another big ole FWIW!

Bud

Absolutely. I find that for my taste, the BB tracks are generally pretty good but can always use some spicing up.

The way I normally treat the BB tracks is that once I get them into my DAW, Sonar, I use some custom presets I've created and saved using the Sonar default EQ, compression, and reverb. I use these on the drums, the bass, and the piano as well as the guitars to bring out the characteristics of that instrument a bit better. Most of the EQ's are high pass to one degree or another.

None of those settings are radical. Just a subtle touch here and there as needed.

Vocals..... you have to get a good recording to start with. Again like you mentioned, dry and centered and with a good S/N ratio. You are aiming for a natural sounding vocal track most of the time. On vocals.... my processing consists of mild EQ (high pass), very little, if any compression at the track level, and a slight reverb. That's generally it. Keep it natural.

A low cut/high pass is almost a given on most instruments including the kick and bass. Eliminate the mud in the mix and having one instrument step on another. I also drop in a custom preset for Ozone on the master buss to give the entire mix a bit of sparkle, air, and thump. This also provides a point to use an overall buss reverb, again very slight to glue the mix together a bit, some compression on the entire mix, and final EQ, again as a finishing touch. Most of this is in Ozone with the exception of the reverb. I don't like the sound of the Ozone reverb.

Note on the presets including the custom ones. They are simply starting points and no 2 mixes ever have the same exact settings or plugs running.

In the end, it all comes down to your tastes in music and how you think it should sound. In many of the DAW forums, you will find quite a few folks with good ears that can help you fine tune your mixing skills. It doesn't hurt to ask for deeper critiques if that's what you want, but be prepared to "hear" the advice given.

"I generate nearly all biab realtracks mono, centered and dry."


Graham has a nice tutorial on this:


http://therecordingrevolution.com/5-minutes-to-a-better-mix-iii-one-stereo-track/



Regards,

Bob

Will wonders never cease as I had discovered this early on diddlying around with RTs I really appreciate this confirmation of what I thought I was hearing.

"Panned mono tracks will not only make the music more interesting, because of the better perceived location and interaction between the instruments/musicians, but will also need less EQ power to separate the elements in the mix.
EQ power that can then be put to better use , like enhancing the sonic quality of the tracks, (all within the context of the mix, of course)."

That statement in your link sums up what I was attempting to say in my post about the soundstage.

Thanks!

Bud