![]() ![]() I usually have an auxiliary track that feeds the actual audio print track, and that’s where my widener will sit. If it’s a hybrid situation where I go out to my analog outboard for mix bus duties, I usually place the stereo widener plug-in on the first track after my A/D has captured the analog mix. If I am mixing completely In-The-Box (very rare), I usually place it after my compressor(s) and EQ(s), but before any “harmonic” tape emulation. If I am mixing and I feel something is needed to make the mix sound better, I don’t postpone, I don’t defer, I don't put a sticker on someone else’s fridge: I go for it.ĭespite all the tricks available, I don’t do anything that will leave you breathless: I just place a stereo widening plug-in on my mix bus.Well, i t’s the truth: despite my suggestions for colleagues and trusted engineers that I know could handle mastering very well (and offload my responsibility of doing yet-another-task and having tunnel vision) most clients want it done right, but also fast. Most clients I’ve worked with specifically demand that I master my own mixes. ![]() Most mastering engineers I’ve worked with (the good ones) abstain from excessive artistic choices, including super-widening a mix that sounds “just normally stereo”.There is no right or wrong: personally, at some point, I decided to go bold and do the widening whenever I feel like it, for three main reasons:. ![]() So what now? For years I’ve pondered whether I should try and get the most out of my real stereo field (meaning: no cheating) and leave any widening to the mastering engineer or I should go ahead and work out some widening magic straight from the mix. The recording engineer has it all down, the band sounds great and the takes are ready for mixing.
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