Very happy you like the video! Let me know if theres something specific you want me to go over. Not sure what you mean by second half. I also offer private lessons if you are interested in diving deeper into something specific. My contact info is in the description of all the videos.
Since you made the first video on parallel (rear bus) compression i feel like my mixes went from 85 percent to 99 percent of where i want to be. Cant thank you enough for it
@@Durkheadlol I’m not sure it has any benefit other than work flow, *if there are no inserts on the bus, or if you are only sending 1 track to the bus. But as soon as you start sending more than 1 track to the bus with an insert on it, the bus processing on the group of tracks sounds more musical (in many cases) than it would sound on its own.
@@samsonlovesyou you maybe talking to @xrabbz2010 but if you are asking me, I usually keep drums and bass out of what some people refer to as the rear bus (what I refer to as my parallel comp channel(s), of which I often have 1-4 channels of). My bass sometimes gets its own set of parallel(s) with nothing but bass on it (same with drums) processed a few different ways on each, or I’ll use a parallel channel(s) with only drums and bass on it, just like what Michael Brauer calls “Bus B”
I spent 10 days 18 hours a day replicating the BRAUERIZE technique using tone generators for the parallel compression A - E channels to achieve -2db of gain attenuation; then refined & perfected it after about 4 years. I created the template in Protools, Reason Studio and Luna. At the end of the chain I side-chain the all Vox bus and the All Instruments bus & have the instrumental dip by -1 to 2 db before hitting the master channel. This technique made me a better producer.
Very interesting. It reminds me to somewhat old school approach where you will end up having vocals and all groups. Bill price did this on use your illusion. Luckily, compressors have dry wet knob today.Great daily content!
Great video! This video basically explains your template, but I would still love to see a more detailed break down of your template and how you route that through your analog gear. I know this is a big request but I think there could be some real beneficial information in the details!
Thanks for sharing this. Could you possibly do one where you play the song before and after you make certain changes to the P comps? So we can *hear* the changes. 😁
for sure. So many people work in so many different ways. There is no "right" or "wrong," only what you like better. I've found that my taste changes over time and that different songs require different things. I change up my work-flow a lot, but lots of guys do the same workflow continuously and feel they get the best results that way. You got to do what you prefer!
@@customcutstudiosi agree. Also custom cut studios merch i will buy! If not because i understand thats a task within itself im here for every video. I watch a ton of tutorials, I CLICK ON randoms and high viewed ones. This one hits with the realism AND ive applied your advice and im not promoting but my beats are hitting hard😊
Is there a difference between sending stuff to a compressor on an FX send, and sending it to groups/bus like in this video.If I send to an FX bus I can decide how much to send, if I send to a group bus I cant it's all in, I dont know how to send it to 2 places ie one dry one wet, and is there a difference to just using the blend knob on the compressor? Cheers
This is really cool. Are you running THE SAME vocal through several parallel compressors, or was each compressor for a different vocal? I'm a bit scared of messing it up with loads of them but willing to give it a try cos the principle is a great one. 😬
I’m very happy you like the explanation. I’m running the same vocal (all my lead vocals / doubles and any other vocals other than the vocals I may want to be super wide) through those separate vocal parallel channels, each with a different compressor on them. That’s what creates the vocal sound. Each compressor adds its special flavor and together they enhance the same vocal in a way that it just doesn’t work when you run them in series on the same channel. The super wide backing vocals go to the wide bus along with anything else super wide. That’s just how I do it. But don’t be afraid to experiment!
This video has been the most comprehensive one that I’ve seen so far on the Brauer technique. Thanks.
i wish i could understand the second half.
Very happy you like the video! Let me know if theres something specific you want me to go over. Not sure what you mean by second half. I also offer private lessons if you are interested in diving deeper into something specific. My contact info is in the description of all the videos.
I couldn't get the vocal right and I tried this the first time ever and I got immediate results, loved it!
That is absolutely amazing to hear! Thank you for letting me know. It’s a pleasure to have you on this journey with me!
Since you made the first video on parallel (rear bus) compression i feel like my mixes went from 85 percent to 99 percent of where i want to be. Cant thank you enough for it
Why does everything sound better when you run it through a bus?
Are you running the rear bus method AND the separate parallels, or just everything (besides drums, I assume) going through the rear bus?
@xrabbz2010 That is amazing to hear! Thank you for letting me know. Seriously makes my day. Very happy I could help
@@Durkheadlol I’m not sure it has any benefit other than work flow, *if there are no inserts on the bus, or if you are only sending 1 track to the bus. But as soon as you start sending more than 1 track to the bus with an insert on it, the bus processing on the group of tracks sounds more musical (in many cases) than it would sound on its own.
@@samsonlovesyou you maybe talking to @xrabbz2010 but if you are asking me, I usually keep drums and bass out of what some people refer to as the rear bus (what I refer to as my parallel comp channel(s), of which I often have 1-4 channels of). My bass sometimes gets its own set of parallel(s) with nothing but bass on it (same with drums) processed a few different ways on each, or I’ll use a parallel channel(s) with only drums and bass on it, just like what Michael Brauer calls “Bus B”
I spent 10 days 18 hours a day replicating the BRAUERIZE technique using tone generators for the parallel compression A - E channels to achieve -2db of gain attenuation; then refined & perfected it after about 4 years.
I created the template in Protools, Reason Studio and Luna.
At the end of the chain I side-chain the all Vox bus and the All Instruments bus & have the instrumental dip by -1 to 2 db before hitting the master channel.
This technique made me a better producer.
Never seen it in Luna that’s cool
First time I see you pull up the daw to explain stuff, it's nice
There's lot of that on earlier videos.
Thank you! I’m very happy you like it. I try to mix it up from time to time
@@hextatik_sound you are 💯 correct. Thank you for being a longtime viewer and supporter of the channel. It’s great to have you on the journey with me!
Very interesting. It reminds me to somewhat old school approach where you will end up having vocals and all groups. Bill price did this on use your illusion. Luckily, compressors have dry wet knob today.Great daily content!
I love u already ❤
How can this be parallel, its compressor only? Wheres is the dry?
Thank you for your teachings.....I have studio one 6... How I route the vocal parallels to a dummy bus?
Is it possible to have phase issues between bus with this kind of process ? (Sorry for my Bad english)
Master at work !!💪💎
Oh!! Thank you! Much appreciated
Great video! This video basically explains your template, but I would still love to see a more detailed break down of your template and how you route that through your analog gear. I know this is a big request but I think there could be some real beneficial information in the details!
Thanks for sharing this. Could you possibly do one where you play the song before and after you make certain changes to the P comps? So we can *hear* the changes. 😁
Sure I’ll see what I can come up with for something like that. Thanks for the suggestion
yeah this is intense haha im glad he said its not needed for awesome mixes...ill come to this when i master mixes without it im sure!
for sure. So many people work in so many different ways. There is no "right" or "wrong," only what you like better. I've found that my taste changes over time and that different songs require different things. I change up my work-flow a lot, but lots of guys do the same workflow continuously and feel they get the best results that way. You got to do what you prefer!
@@customcutstudiosi agree. Also custom cut studios merch i will buy! If not because i understand thats a task within itself im here for every video. I watch a ton of tutorials, I CLICK ON randoms and high viewed ones. This one hits with the realism AND ive applied your advice and im not promoting but my beats are hitting hard😊
Diggin it hugely
Is there a difference between sending stuff to a compressor on an FX send, and sending it to groups/bus like in this video.If I send to an FX bus I can decide how much to send, if I send to a group bus I cant it's all in, I dont know how to send it to 2 places ie one dry one wet, and is there a difference to just using the blend knob on the compressor? Cheers
Is the dummy channel a Pro Tools thing? Just seems unnecessary in other DAWs where you can group tracks.
I love this guy. a needle in the haystack..
Thank you so much! I really appreciate you saying that
This is really cool. Are you running THE SAME vocal through several parallel compressors, or was each compressor for a different vocal? I'm a bit scared of messing it up with loads of them but willing to give it a try cos the principle is a great one. 😬
I’m very happy you like the explanation. I’m running the same vocal (all my lead vocals / doubles and any other vocals other than the vocals I may want to be super wide) through those separate vocal parallel channels, each with a different compressor on them. That’s what creates the vocal sound. Each compressor adds its special flavor and together they enhance the same vocal in a way that it just doesn’t work when you run them in series on the same channel.
The super wide backing vocals go to the wide bus along with anything else super wide. That’s just how I do it. But don’t be afraid to experiment!
YESS !!!
Thank you! Your enthusiasm is much appreciated!
@@customcutstudios you’ve helped me in an unusual way. I’m the one who thanks.... love
Now I want steak 🥩
Now you made me want steak. That emoji looks too good
Please make a video showing Michael's way, don't jump into how you do it.