Where Top-Down Mixing Goes WRONG
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- Опубліковано 30 січ 2024
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Are there downsides to top-down mixing? Are there situations where it doesn't work? What are some of the common mistakes that people make with top-down mixing? We dive into all of that and more in this video.
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Hey thanks man!! I really appreciate those links.
"You're tellin' me I can't boost nothin'?" Lol, I just spit my coffee out! :-)
So I watched the vid and thought. Hey I will try that. Went to one of my mixes that I have been working on for some time. I turned off all the plugins. Started on the main and did compression and eq. Then used the plugins on the busses and tweaked a little bit. Then went back to the main and tweaked a little.This took all of about 15 minutes and the whole thing at that point sounded better and cleaner than it was before.
Amen. Spot on. It baffles me how many people think Top-Down means Top-Only.
I am a very beginner studio mixer. My mixing started out as live mixing at church. But I’ve mixed 3 songs so far. 1st one took me forever to mix doing processing on each track. My 2nd song, I learned about top down mixing and that song took me like 12hrs to mix because I was still learning a lot. A couple days I mixed a kinda lo-fi hip-hop vibe song in 6 hours.
From the 1st song to the 3rd my mixes have grown in clarity and in balance because I am focusing on the song as whole, rather than getting carried away in the tracks. I really feel like I’m no longer missing the forest for the trees.
Joe, your videos on mixing have been super helpful in this process of learning how to mix. And really top down mixing has also helped my production process be smoother as I thinking more holistically about how the elements come together rather than focusing just on the character of each element. What I’ve found is that, in a weird way, focusing on the big picture as a whole in production and mixing, helps to make better decisions on the character of the individual elements. Example, I have a lot more confidence when I go to produce bass lines or mix bass when I do it in conjunction with what the drums are doing. Top down mixing has made me faster with a significantly greater quality than the first song I mixed.
This song I’ve most recently mixed is one of two for a friend of mine. Him and his wife are both full time musicians. His wife had a couple million streams on her Spotify music. The song I’m doing for him will be his debut, and they really liked the mix that I did!
I’m still very early on this music making journey. But by the end of the year, I have already planned out 8 to 10 songs(both of my own and of friendships) to produce, mix, and master. I’m excited to put to practice top down mixing and looking forward to hopefully sharing progress in the comments!
I said a lot but in essence, top down mixing has helped me to think more holistically and achieve great sounding mixes while using LESS plug-ins and LESS time!
The thing I learned today is that when you’re good at talking on camera, you can effortlessly do a whole video saying “heeavy metal” without laughing.
This was the most important lesson.
he was so serious about it and that made it even funnier
About the 8th time you said "heeavy" metal I was almost in tears. Stellar poker face too. 10/10 Good info as well. Thanks. Keep it heeavy!
I've been top-down mixing for years. Like everything, it takes some practice, and knowing whether the application will work in your mix. The end result is ALWAYS, how it sounds in the mix.
I'm glad you clarified this, because when I watched your other video I don't think I fully grasped the idea. Electronic music is my thing (at the moment!), and sometimes you have to focus on one or two tracks - e.g. for psytrance you spend a lot of time making the kick and bass work together properly... but now I get it. That's just "zooming in", which is sometimes necessary. It doesn't mean you can't apply top-down mixing to the track as a whole. Many thanks for your helpful advice!
Great share; SUBBED! Excited to dig more into your videos!
I think one of the critical audio summing details people miss about top-down mixing which is why I think it's a great tool (Especially on drums)
Is that; the phase relationship of the sum-difference between channels remains in tact the further / more global you apply the processing;
E.g
EQ shelf on the mix-bus; the phase rotation moves universally across the SUMMED signal;
EQ Shelf on the drum bus; the phase rotation moves universally across the drum bus; this phase-shift and summing of the adjacent signals feeding the mix-bus may / may not change their relative summing / tone with the drums.
EQ Shelf on the kick; the phase rotation shifts the relative sum-difference signal of the kick to the adjacent mics; shifting the summed sound of the drums;
EQ is where this is MOST notable; but it applies universally for all processors at any level;
This isn't to say that the relative change in a summed signal when you change one component of the mix is inherently bad. Not at all. if that were the case we'd never process a signal...
It's to say that when working top-down you can manage those relationships on a macro-level easier, with less "tail-chasing" as you make adjustments.
Great vid again!
I suggest people who are interested in this method should play around with S1 templates and see how some of them are routed and what are the plugins doing. There's plenty of top to bottom mixing under the hood.
Joe, I've been using your top down mixing advice for years. Top down mixing inspired confidence; it helped me develop and trust my listening skills.
This was a great follow-up to your "Why Top-Down Mixing is the Goat" video. It helped me clarify and better understand some of the questions I had about top-down mixing and the mixing process in general. My personal take-away is something you always stress, i.e., what problem(s) are your trying to solve? This will help you determine which tracks you need to spend more time on as part of your top-down mixing process. It's analogous to a family with five children with one problem child who requires, and often demands, more attention.
The benefit of Top Down is clear to me. I spend a lot of time getting the right sound during the recording process. If the song doesn't sound mixed after leveling and panning, I re-record the problem tracks. I truly believe most frustration sets in because the source is not recorded or performed well. It's not about, "top down mixing doesn't work." It's something else you're not being honest about. There Joe, I said it so you didn't have to 🙂
Thanks Joe.
Thank you for getting back to my remark, Joe! Despite minor deviation in taste, overall your philosophy and teaching of mixing has made me become a better mixer. Really appreciate your work!
That makes sense Joe, those bus channels are really efficient, i think it,s about a persons approach and workflow.
Love the advices on that take !
I've not watched your videos for a while... came back today... you've changed...
This is THE LESSON of my Attempt to "Learn Correct Terms & MEANINGS of the Industry" Before Everything Else moving Forward. Every Experienced Mix Engineer spent 1,000's of combined hours to make sure these principles are applied inclusively to move armed w/intent to move forward in this Discipline.
When you think about it some of the reasons we use plugins is to get the sounds like compression and saturation that were built in to great recording consoles. So in a way the top down was built into the aggregate sound at the console master bus. So we've really aways mixed top down.
Perfect response (and delivered with a sense of humor). What you said makes a lot of sense, especially now that you've clarified. ONE QUESTION though: In my mind there is "creative processing" and "corrective" processing. Most electric guitarists are familiar with the creative processing that they do on their pedal boards. The same could apply to most any instrument or even voice (telephone effect for example.) I would think that creative processing could still be applied during or even after the recording phase before the top-down methodology is applied. But I'd like to hear your thoughts on this. I'll probably post this question in the HSC Community now that I'm a member. But, here as well if you care to respond.
Hey joe.. i want to tell you something. I realised it after watching ur top down mixing concepts, that i have unknowingly developed this approach. When i started getting more jingles than usual, I had to deliver them on a very short deadline.
I unknowingly started to mix with this approach, as it was faster to mix like that .
So yes u r right.. it fastens the process for sure.. and it is better if done in the right way.
I did found the name of the approach I like the most. I use some sort of top down philosophy, but I mix more with the bucket mixing approach! Yeah that's the name, bucket mixing which is kind of similar to what you do except for some stuff. Seeing the overall, and section or busses by making them interact with each others.
Ty from Philippines
What I really miss are the old Joe's videos writing songs!!! I hear your songs on Spotify and still remember how you wrote "Listen" (among others of course) live and then "listen" 😜 to the finished product!!!! Love those videos!!! Just saying 🤪
BTW I bought your mixing course long time ago y it really changed my game!! Thanks Joe ✌🏻😁
Yep. Always do a rough mix a time or two coming at it from different angles. Not days, but an hour or so just setting levels from top down and another bottom up. Gives a good perspective.
I've eventually moved to mostly top down, but it required an investment of time and understanding the instruments and have trained your ears to be able to separate the issues you hear from the sound you want to achieve. I feel people have maybe missed that. It requires leg work first, real walk before you can run. Maybe that lack of leg work is a factor in people's bad experiences with it? I've used it on multiple genres and get fast results that are better than I could achieve 2 years ago, but I'd wager that is more to do with the fundamental understanding I now have than it is to do with inherent fault with a top down method.
Great video as always!! What everyone may not be grasping is that all engineers who mix are sort of doing some form of top down mixing anyway at some point lol. When you receive your track outs in your session, the first thing you may do is take a listen to the song at a glance to hear how it sounds. It may sound funny but this is sorta a way of top down mixing lol. People who mix into a limiter, compressor or any form or processing on the mixbus/master channel are actually doing a form of top down mixing lol like it or not. Like he said, it's not top only mixing but it's top down meaning you may start with the busses first(and you don't have to go extreme here with processing) and work your way down to the individual tracks. No one's pointing a gun to anyone's head and telling them "you must mix with bus groups only...or else" LOL. At the end of the day, I don't think there needs to be any bashing or hate of anyone's methods-do what works for you *inserts idk emoji*
Yes..... I have found that top down does an overall quick and dirty cleanup, but, what I think a lot of people miss out on is that using a light handed compression around 3dB on my busses helps to glue those different elements together very quickly. I am not saying this works everywhere and is a solid mix, but to get an overall picture very quickly this certainly does help. Can one go over the top..... Yes, but if you are adding tons of compression early on then obviously there is a bigger problem and most probably indicates a volume issue more than a compression issue. I do feel that this is where individuals start falling apart because of the lack of understanding how to use compression overall. Thanks Joe.
I was getting overwhelmed with 2 of the mixes I'm currently working on, so I tried Top-Down after your video last week and HELL YEAH it worked. I find that it super simplified what I was doing. I was adding a bunch more busses, but instead of running the same EQ/Comp on Left and Right acoustic guitars, I'd add the EQ/Comp plus reverb to the bus, at the very least making my mix window look less cluttered and out of hand! I found it easier to mix towards something, like getting all the drums to sound good together in the bus, instead of trying to get each drum track to sound good with each guitar part/bass/piano etc. Being able to quickly solo and mute entire sections is a game changer too! My one question, if anyone can answer, is if I've got separate bus channels for each sub-section of the song, when is too much? And what do you do with those random solo Pad, bells, other sounds that don't need a separate bus. I feel like I'm leaving them out if I don't bus them out with everything else.
This full-time working audio engineer endorses this message. One of the big points I think people miss about top-down mixing is there are things you do in top down mixing that give you results you cannot get from bottom up mixing. That is really the trick, I think, is learning what you can get from top down and what you can get from bottom up. Professional working engineers all understand those two things.
Hold up...are you telling me that TWO THINGS can be true?!!? 😂
@@HomeStudioCorner Seriously. Lol
Well said, Joe. I'm learning 😮 lol.
Hey Joe thank you for the content, it helps a lot of people like me who are new in this world of mixing music. As far as I watched your vids about top down mixing I’ve noticed that you don’t add a mix buss so you directly start processing your drum buss in comparison to other audio engineers here in UA-cam that have a mix buss and start first with it. So if top down mixings philosophy is about to start in a macro view of the song (depending how much tracks are) and then taking care of the rest (if there’s something to fix in a individual way), what would be your advice? Do I have to start with the whole mix by processing my mix buss or just go directly with the drum buss? Thank you very much
Get it right at the source. Once I grabbed that thought process by the throat Top down mixing became a lot easier for me.
I think you hit on a good point. It is called top-down mixing, not top-only mixing. Top-down mixing is inclusive of fixing issues at the source. It just is about starting at the top
(edit: I can’t believe I typed this out a good 10 seconds before you made this exact point. I think I may have watched a bit too much of your content if I am… lets call it starting the sentences you are finishing)
Haha. Heevy metal. Touché.
Great video💪❤❤❤❤❤❤😊😊😊😊🤩🤩😎😎
I was working at The Base in South Melbourne the other day and I asked owner and resident engineer extraordinaire, Phil, if he'd heard of the term, top down mixing. He shrugged and said he wasn't familiar with it, so I explained the concept. He then proceeded to show me how he runs everything from Pro Tools into channels (busses) on his Amek G2520 and then mixes there before going to the individual channels in PT. Even though he'd not heard the term, it was the exact approach that he uses and has done for over a decade.
I love Heeavy Metal!
Assuming this is all pre-master... I compose a lot on-the-fly, and often keep my mains (see: pseudo-master) processing on, just to get a grip on how whatever I'm composing, might compare with sounds I like in the mainstream. I have begun to force myself to shut all that off and just listen to the mix. I learned lots of things about mixing since the beginning, and now I can go back in my mixes, strip off all the post-mix processing and really hear what's good and what's not, and I do that at an overall mixbus level, first, then ... the tracks. I have so many early mixes that don't even have sub-busses. But when I start to section off parts to busses, I do exactly what is indicated - how does that bus sound, cymbals to middy? Not enough thump in the kick but the snare is alright? Rhythm guitars competing for frequency spectrums? I'd rather work on the kick alone than try to bring it out of an already-mixed bus with eq. Something I just started looking at, maybe old, but the Clip To Zero method, which, mind you, I believe is more of a loudness strategy than a mix strategy, but in the mix, is where CTZ happens.
Hi Joe! On the subject of buses, is there a way to keep the sends tab from collapsing once you have more than 9 buses? It really gets frustrating to send to effects buses because of the extra click (or time we have to spend hovering over audio destinations). In Studio One version 5 you could just click the plus button and all your potential buses remained listed regardless of how many there were in the session. Any help would be much appreciated!
When mixing with buses would you need to pan in relation to the tracks or keep them center?
Question, what if you used a multiband compressor on the drum bus so you could leave the cymbals uncompressed?
It does seem like top-down is very reliant on a consistent recording process. Not necessarily a bad thing but also not something that will work for everyone
I guess I been top down mixing for years. All I do is use busses 🚌 lol. I always felt it opened the mix up giving a little more volume less cramping. Plus once you get everything routed like guitars, drums and so on you can do most of your mixing from the buses but like you said Joe it’s not like you abandon the individual tracks. There is still automation as well as automation on the buses. Plus you will definitely use less processing. Also there is no rules to doing it this way. There will also be a bit of experimentation going on. I feel there is always something new you can do.
Hi Joe. I’m new to studio one and currently have the artist version. When doing too down mixing, should I have my limiter on the master fader?
This is a tough subject to tackle. What works best for you and your situation? I personally do not start at the end of a mix. I start at the beginning. "The individual tracks". What tracks are going to go to what bus? And how should I process the tracks going to "that bus". Then process that buss and send it to the mix buss. Repeat and rinse for all other busses, (elements of the mix). Then I balance the individual elements (busses) to the mix buss and process the mix buss as needed. Usually not a lot needed. To each his own.
One other criticism toward top-down mixing I remember picking up is the processes you set up in your bus could get in the way of your overall mix. This could be a case where if you are working off of a template, you might be using something that will hurt rather than help a mix. But honestly, I think the solution is not to stop doing it, but rather be purposeful and intentional in what you use. For myself, I don't work off of a template - I'm not in a position yet to need one as I am just doing music for myself - and every mix I do is unique. But even if you do work off of a template, you can always swap out a plugin if that plugin is causing problems. Or not use that one at all. Or - as you pointed out - maybe this can be addressed with individual tracks to help minimize the issue.
The interesting part is that if you are processing the master bus - and I know that's another intense topic of discussion - it's no different than what a master engineer does to that mixdown you sent over.
hi Joe, my audio interface records at 48Khz but i have only 44.1khz intrumentals, should i record my vocals at 44.1khz too? Or should i upsample the instrumentals to 48? And if i upsampled them it would change the sound and make it faster or something?
Doesn't matter. Pick one and stick with it.
With my 25 years of experience in this hobby / part time gigging. Get it right as i can as close to the source as I can. Maintain headroom into my mixbus. Then top down with the slightest amount of mixbus compression and clipping into a clipper. Try to make it sound as intended but with control for mastering. Then go to group bus’s for fixing what I didn’t get just right.. That’s the simplest way my workflow goes. I’ll occasionally use my group bus to find issues in balance’s then solve that issue in the tracks contributing to the issues. So it’s kinda a hybrid approach but I find better results for me in doing so. Plus with exporting multitracks and or doing atmos mixs. It will save time for that. Not everyone wants bus stems.
So. Bottom up , top down , group down , bottom up. Group simplified , mix with fresh ears and do a rough master in session. Then once in satisfied and tested on various audio systems. Export from the mixbus with mastering chain off. Then master with the same mastering chain as a starting point. 🤪
I stopped using top down mixing about 5 years ago because I felt that I struggled to understand what it was doing for me - I got that if I want a brighter mix I can add top end on the mix buss instead of on individual tracks, but a bright mix is often better with SOME bright parts, not everything bright, likewise de-muddying is often about fixing a couple of thick parts, not just sucking the body out of the whole mnix. I started to mix bottom up then applied any overall processing on the mix buss to taste - like adding pepper to the meal on the plate. Mid last year I revisited top down and it's been a revelation - if it's something that is baked into the character of the song or stem then it goes on the buss and gets mixed into. The big trick for me was to put a VU meter (calibrated to -14 dBFS on the mix buss) in the first slot and trim the buss to that - as I add parts to the mix I retrim the buss so that the hit is consistent on dynamics processors. Nice content Joe - I've learned a lot from you over the years - still got some old Duelling Mixes that I got too busy to work through sitting on the dusty end of the To Do list :-)
Just the fact that you say heeavy metal throughout the video makes me happy
Just doin’ the Lord’s work over here.
You shouldn't use the actual drum bus as your crush bus. Use a set of room mics on a track and crush that and leave the processing of the individual drums to themselves. You still probably want some plugins on the kick and some different ones on the snare for example.
I don't think I saw the original video. What you are saying makes sense to me. I recently saw a video of someone doing extensive analysis of a mix being processed by Ozone. The amount of things you can do with a tool like that is great but there were parts of the video where I wondered that if I heard those things I would be tempted to go back to the tracks (if I had them) and correct it there. Sure the video was about Ozone not about mixing so it's not a criticism of the video. It just illustrates that even when you get to that stage it might still be better to go back to an individual track if you can. So if you do top down it's just a matter of knowing where to correct for any given thing. Main bus, instrument bus or individual track.
With top down we aren't talking about mastering where there are no tracks to access. Nobody says you can't go back if the kick drum for instance is just causing too much of an issue. Seems like people do that anyway even if they start soloing everything. Kick sounded great at the beginning for instance but just fights with everything when it's all together. Happens all the time in live sound as well and that usually starts with a check of one instrument at a time.
anyway need to put saturation, special compression and overall eq to buses and master, so better load "safe" preset for own music style first and then custom individual tracks, it won't sound very good at the moment, but if start to do impressive drums and bass before buses, it will be anyway far from "studio" quality sound, and when add 4-5db compression to buses-mater to sound "together" you will return back to edit again and eq too (boost cutted middle from "down")
think of top down as simply going to different studios.. all of the main mixing is done on the busses then those busses are summed to the main out.. then the main is mostly used a s glue with about -2db on the main limiter
oh dang, I wanted to use it for heeavy metal
So sorry for your loss.
Love your videos Joe. Your comment section gives me a headache, lol. Too many people trying to be right.
It was the 3rd "heeavy metal" that did it for me...
3:56
Hey man, y'all best not be BOOSTIN in dat heeavy mettal. Ain't safe an' all
I think top down mixing would be dope if you had reference? I mean many of the problems pple are mentioning here are based on overmixing with no direction
There’s no right or wrong, it’s just what works for you…
The problem with them will be not knowing what needs to be done in order to get the sounds, the feel they want.
Not here to diss you Joe, but this isn't really top-down mixing. 'Real' TDM is setting up (at least) an EQ (normally a smiley face, or a similar Pultec move) and a compressor (to achieve glue, or similar) and mix into them (without changing their settings). I'm not a fan of it, at all.
I do, however, employ buss mixing first - like you suggest. That's my only gripe, it's not really TDM - it's in the middle.
Maybe you could coin a 'new' catchy buss inspired mix definition - rather than saying TDM, like 'Buss Urgency Mixing'. 🤔 Yes, the acronym was on purpose. 🤣
Anyway, great content, as always... 😉
Yeah for some reason a lot of people have an unreasonably strict view of top-down mixing. The idea of never changing bus settings once you set them is bonkers. I’ve never actually heard anyone recommend this, except for here in the comments. 😂
Also BUM mixing is a top-runner. 😂
He ain't heeavy... He's my brother.
I generally don't like audible pumping. It takes effort and experience to create a homogenous sound (call it compressed) without the side effects. Old engineers were probably better at this, going for a more hi-fi sound. Sorry for stepping on peoples toes ;)
nolly does top down mixing so i'd say it works fine for heeavy metal
Top down mixing is first work on bus but be careful track need to be seen either
And bottom up mixing is work on the track but be careful bus need to be seen either
... LOL
The problem is that youtubers are often too much categorical . YOU NEED to do this way ! This is THE MAGIC secret ! Why you mix SUUUUUCKS ! (I'm joking, no offense)
I like this video because it give some PRECIOUS nuances ;)
What does GOAT mean. I keep seeing this everywhere but, I don’t know what it means. I’ll climb back under my rock but, not until I get to the bottom of this. lol
Muhammad Ali 🐐 greatest of all time
Get Our Act Together! Or, a reference to a pet goat Joe had as a child. Might be Greatest of All Time. :)
"I’ll climb back under my rock but, not until I get to the bottom of this." BARS
Greatest of All Time
Glowing Orange Amp Tubes
With Top down mixing you use up a lot of your computers processing power.
It’s usually the opposite.
Top down works for metal just fine.
A whole is only as good as the parts
Hi Joe, you must get frustrated with some of the ridiculous feedback you get. Anyone who thinks top down mixing negates having to do any track processing should just give up Mixing right now.
It's a little frustrating but mostly entertaining. I love how passionate people are. And despite what people say, I learn things from hearing opposing viewpoints.
Joe, if you put a compressor on your drum BUS and then start processing the individual drums then you change the signal that goes into the compressor. This means that you have to reset the compressor again. You'll just create more work for yourself. What's the advantage of that? Then you can first process the individual drums and then put the compressor on the BUS track. This top-down mixing makes no sense at all. That's absolutely bu****it 🤦♂️
You're right, but that's true no matter what mixing workflow you follow. If you mix snare first then put a compressor on the drum bus, what you said is still true. If you go back and make tweaks to the snare, you have to keep in mind how it affects the drum bus. That's common sense.
However, I've had plenty of mixes where I got the drum sound I wanted by putting EQ and compression on the drum bus and NO PLUGINS on the individual tracks.
@@HomeStudioCorner yes of course you can just send all drum sounds unprocessed into a bass channel and hope that it will sound good. But what's good about sending unwanted frequencies into the compressor and they then affect all the drums. The entire drum channel is influenced by frequencies that you don't need or want. With your method the sound might not be bad, but it would still sound better if you had cleaned it up a bit beforehand. I'm not saying your method doesn't work, but it's worse than the traditional methods that all major producers have been using for decades. you had a problem with overprocessing of the individual channels. it helps for you. But it only helps people who have this problem! It only helps people who have this problem. A world-class producer who really knows how to mix doesn't need top-down mixing. because for such a producer it only offers disadvantages and not a single advantage. please do me a favor and don't sell this as the better option. You're making a fool of yourself to any reputable producer. maybe it's good for beginners but personally I'd rather learn it properly from the start.
Maybe I’m misunderstanding you. Are you saying if you have 20 background vocal tracks that you’d rather EQ each one individually than run them through a bus and EQ the bus?
@@HomeStudioCorner 20 background vocals are 20 signals that are all almost identical. In this case you can of course edit them all at the same time. But even then I would create four to five different channels to divide them up differently. but that is an exception. this only works with background vocals. In a drum or instrument bus you have completely different signals. You can't compare that. but loading a compressor onto a drum bus and THEN anytyme later making equalization settings or other dynamic changes on the individual drums is really not intelligent if you understand how compressors work.
Thanks for the discussion, Jose.
Joe no disrespect but come on lol you’re pushing top down mixing, yet have the nerve to say someone ELSE is giving bad advice? I’ve had to help so many new producers fix projects they screwed up because of your advice
I’m pretty sure it’s the “new producers” not knowing how to apply said advice rather than the advice given being bad. Also, what I understood he meant when stating that it was bad advice of mixing forward, back or sideways was, that even though there are no rules to mixing, there is a proven workflow that keeps you on track to getting better mixes and getting better at mixing. 🤘🏼
"Just make it sound good" isn't even really advice. You can't do anything practically with that advice. But top-down mixing is a part of a workflow that works really well, if you take the time to understand it and not assume it means something it doesn't.
@@HomeStudioCornerwe understand very well what that means. It's very disrespectful of you to always claim we have no idea because we criticize you. You obviously had a problem with overprocessing in the individual channels. This can be a useful solution for people who have such problems. But if you really want to perfect it then you don't do top-down mixing. this is just a shortcut for lazy or beginners.
No disrespect intended. But a lot of people assume that top-down means you HAVE to process the busses. You don't. But it's an option. I've had mixes where I did all my processing on the bus. I've had mixes where I do none of it on the bus. It's all still top-down, because I'm focusing on the bus level first, then zooming in to the individual track level.
@@HomeStudioCorner If you don't start by editing the BUS channel first then it's not top-down mixing. This is completely normal mixing, the way it has always been done. Top down mixing and normal mixing have only one difference. that you first start editing the BUS channel and then the individual channels. If you don't do that then it's just normal BUS processing.
Still not a fan of top down but thanks for clarifying. To each there own. Well done sir 🫡