Do You REALLY NEED mix buss COMPRESSION? 

I love my face! And let's be honest, cheese balls are DELICIOUS!

What's up with you Nolan Cook? Need more java?

Who raised you?? lol

I love that Kush pinned this comment. That's 'balls' right there. I have been using Kush' plugins for years, never seen or heard the person. What a cool cat! Philosophical, deep, honest, artistic, and pendantic in all the right ways.

Stupid haters are so funny

I appreciate that, truly 😊

@@TheHouseofKushTV Hey Gregory ! You should check the traduction proposed automatically for this video !! It is totally CRAZY !! A youtube problem, a hacker ?! What it is??

I love these videos so much too

Such a shame You were forced to watch it.

I fully agree Jacob. G. S. is a multilevel B A D A S S, and a simple 👍 is not enough.

My main improvements actually came from working with good drummers, lol. And then yes, parallel compression!

thats not sarcastic btw, These are some of the best insights anyone has ever given me on this tooic

Awesome, glad to hear it!

Mazel!

Wow, thanks!

Maybe! Or maybe I had a reaction to my 2d covid vaccine shot and have been laid up and useless for weeks (!). But I'm about to get back into the flow, have no fear!

@@TheHouseofKushTV No problem man take your time we love you !

YEAH!

My pleasure!

Right, but it's much more easily and readily answerable and knowable, it just requires that you stop thinking about mental concepts like "necessity" and start listening to and feeling the language of your body, heart, and emotional center. Put another way, "is this necessary?" is an academic question of no value here. "Does this process or change or effect make me feel something meaningful?" ends the conversation you're having with your mind, and begins the conversation you ought to be having with the song.

yup! Good observation and That's exactly the point, to understand and accept that what we're doing is subjective, then use that understanding to ask ourselves the right question. Which is, 'what does it do to the change effect the song has on the listener'? of course, the only guide you have in this is yourself. you'll never know the effect it has on others like you know what effect it has on you. that's what makes it art. it's inherent subjectiveness. the point is to Not try to turn something that is inherently art into something that is definitive and factual. music is about feelings and emotions. maybe producers don't want to trust their feelings and emotions about music... but that mentality isn't art. what they're seeking is science to validate their feelings. rather than trusting their feelings and expressing them as a love offering to the world. (what artists do). maybe more akin to a mechanical engineer than a mixing engineer. (as far as the ratio of art:science, subjective:objective, feeling:fact or whatever we choose to call it). mechanical engineering is not without art, but it generally has a lower art to fact ratio than musical engineering. and musical engineering is not without it's 'this is the physics of sound and it behooves us to understand it' qualities as well.

Nicely put, I dig it!

Such a badasas and underrated comp, love its upper mid sheen!

@@TheHouseofKushTV yeahhh I'm in love, it's a crazy beast ;-) Sometimes I use it for vocals or bass

I think vocals is actually my favorite spot for it, acoustic guitars too. Anything where I want a spongey kinda clarity, not hard or edgy, just... nice!

@@TheHouseofKushTV Creaaammmyyyy without fat :-)

To be clear, I absolutely LOVE mix buss compression and use it way more often than not. The thumbnail is just me being cheeky about why people make the choices they do 😛

@@TheHouseofKushTV Yeah, I love it too! 🥁

Oh, great question and I WILL hit this one up in an episode because here's the thing: I hate mixing into processors on the mix buss. I will build my mix until it sounds really quite good, if a bit bland and unexciting, maybe like 75% done. Then I insert my hardware for some saturation and a more lively timbre, tweak the mix for a bit now that things are more contained. I'Il put the mix buss compressor on when I'm maybe 90% done, squeeze it for movement and density and tighter transients, then spend another hour or so making verrry delicate adjustments to things, tucking in stuff that's hitting the comp a bit too hard, pushing other things farther out to feel the comp pushing back, I love that feeling. So yeah, there is no single workflow or truth for any of this stuff, and while it is true that many people like mixnig into the comp (etc.) from the outset, I very much do not and lord knows I've tried more times than I can count. I seem to enjoy building a mix like a house of cards, and don't fare too well if I try to get ahead of myself!

C) Mizz Buzz

Track gain isn't really relevant, because if all your tracks are recorded at -30dBFS then you could park all your channel faders at 0 and still not clip the mix buss. Conversely, if all your individual tracks are slammed to 0dBFS and you have 50 tracks playing at a time, you'll need to pull all your channel faders down to like -24dBFS and even then you'll still probably clip the mix buss. Sound energy is multiplicative and it adds up fast. Two tracks recorded at -3dBFS and summed together will probably overload the mix buss. Long story short: if pulling all your channel faders down to -12dBFS doesn't give you enough headroom on the mix buss, you need to pull your channel faders down more 😛

If Matthew McConaughey modeled himself after Kush, with... the choker, and the velor zip up, and mix bus compression expertise, his star power would elevate from very high to off the charts.

Oh, innnteresting question! Truthfully? I almost never want to 'widen' a source, but if I do it'll either be with a big old ping-pong delay which also makes the sound wet/deep (think classic moog worm kinda solo) or it'll be with something you mentioned, short fast echo or reflection. Sometimes 100% wet on a simple hall or plate is good, but again, that's to push it back as much as spread it out. The thing that I generally want to widen is the MIX, the whole soundfield, not a synth. I like my synths dry, esp. monosynths because they're such a classic thing and dry just feels right. So if I want a monosynth dry and wide, I will double the part. Different but compatible synth patch (often from a different synth), sometimes play the double an octave up or down. You do that --- get two similar but different sounds playing the same thing, possibly in a different register --- and you pan them out... try it, thank me later. No effect on the planet can do what that does so effortlessly. Rock and guitars have been doing it forever, it's no secret, but it works on anything. 😊

​@@TheHouseofKushTV Thank you very much for this answer. And the time you spend to explain! I will try this today and experiment with these thoughts and tips for a while. Again... Thanks !!