Balance the kick and bass by making them sound equal in volume
Problem: kick and bass are unbalanced in volume
To achieve a balanced relationship between the kick and bass, adjust their volumes until they sound equal in loudness. This ensures neither element overpowers the other and allows them to complement each other in the…
Avoid adding EQ or compression during initial microphone testing
Problem: over-processing during initial microphone evaluation
When evaluating a microphone's sound, it's important to listen to it without any processing to get an accurate sense of its natural characteristics. The speaker demonstrates this by using only panning and no EQ or…
Avoid over-processing during initial recording sessions
Problem: over-processing during recording
The multitracks provided in the video are raw and unprocessed, with no EQ, compression, or high-pass filters applied. This allows users to make their own decisions about how to shape the sound during mixing. It's a best…
Use meters to monitor levels and waveform shape
Problem: unbalanced or distorted levels
Using a metering plugin like Skeptor can help monitor levels and waveform shape in real time. This is useful for ensuring that the track is well-balanced and that no elements are clipping or being overdriven. The video…
Start with a technical baseline before enhancing emotionally
Problem: mix lacks technical foundation
The speaker suggests beginning the mixing process with a technical foundation, such as gain staging and setting levels, to ensure the mix is balanced and professional. Once this baseline is achieved, the focus can shift…
Mute or reduce overly loud elements to restore balance
Problem: elements too loud, mix imbalanced
If certain elements in the mix are too loud, they can throw off the balance of the track. By reducing their volume, you can restore a more even dynamic range and ensure that all elements are heard clearly. This is…
Set fader levels before applying any advanced processing
Problem: imbalanced mix, unclear elements
Fader levels are the foundation of a mix. If the balance between elements is incorrect, no amount of EQ or compression will fix it. Setting levels first ensures that each element has a clear place in the mix before…
Set levels before applying any processing
Problem: clipping on master channel
Setting the initial levels of the kick drum ensures that the track doesn't clip on the master channel. This is a crucial step in gain-staging and helps maintain headroom for further processing. It also prevents…
Set kick to peak at -12dB and sub-bass to average -20dB for proper gain staging
Problem: clipping or muddiness in low end
Setting the kick to peak at -12dB and the sub-bass to average -20dB ensures proper gain staging and prevents clipping. This is crucial for maintaining headroom and ensuring the low end is balanced and clear. This…
Position the microphone 6 inches from the artist
Problem: inconsistent vocal proximity affecting tone
A standard distance of 6 inches from the mic helps capture a balanced vocal tone. This allows for proper gain staging and compression, creating a wider 'sweet spot' for the artist. The engineer notes that this isn't an…
Use Neumann U47 and API 1073 for vocal recordings
Problem: inconsistent vocal recordings, lack of clarity
The engineer emphasizes these classic analog tools as reliable choices for commercial studios due to their consistent performance and ability to deliver a professional sound quickly. The U47's warmth and the 1073's…
Roll off low end on 1073 preamp for vocals
Problem: muddy vocal recordings
The engineer always rolls off low frequencies on the 1073 to prevent muddiness and ensure the vocal sits cleanly in the mix. This avoids unwanted low-end energy from interfering with the compressor's response,…
Use 4-6:1 compression ratio for vocals
Problem: inconsistent vocal dynamics
The engineer typically uses a 4-6:1 ratio for vocal compression, adjusting based on the song's dynamics and the artist's performance. This provides enough control to tame peaks without overly squashing the vocal's…
Adjust preamp gain for dynamic vocal sections
Problem: gain staging inconsistencies
The engineer emphasizes adjusting the preamp gain for different vocal sections (quiet vs. loud) to maintain consistent levels. This avoids issues where boosting for quiet parts causes unexpected compression behavior…
Adjust preamp and input levels before compression
Problem: inconsistent signal levels, ineffective compression
The engineer prioritizes setting the correct input level and preamp gain before relying on compression. This ensures the signal is strong enough to trigger the compressor effectively without clipping. It prevents…
Adjust vocal layer levels dynamically based on the mix context
Problem: vocal layers overpower or get lost in mix
The engineer may lower lead vocal levels when adding doubles to maintain balance with the music. This demonstrates the importance of 'mixing in context'—adjusting layers so they complement rather than compete with the…
Export with 32-bit float and leave headroom (-8 to -4 dB)
Problem: clipping during mastering, loss of dynamic range
Mastering engineers require headroom to avoid clipping during processing. Exporting at 32-bit float preserves dynamic range, while leaving -8 to -4 dB headroom ensures there's space for compression and limiting. This is…
Use Pro C2 with light compression for mastering
Problem: over-compression, loss of dynamics
Apply a gentle 2-3:1 ratio with a slow attack (100-200ms) to preserve transients. Set threshold to catch only the loudest peaks, avoiding over-compression. This maintains dynamic range while subtly gluing the track…
Fix bass imbalance by revisiting mix project
Problem: intro bass imbalance
If bass is too loud in the intro during mastering, return to the mixing project to adjust the bass level. This workflow ensures proper gain staging and avoids overcompensation in mastering. It highlights the importance…
Use cosmic kick drum with -12 dB peak for headroom
Problem: overcompressed kick losing dynamics
Setting the kick drum to peak at -12 dB ensures sufficient headroom for dynamic processing. This allows compression and limiting to work effectively without clipping. The 'cosmic' character refers to a resonant, spacey…
Balance bass average level at -20 dB to complement kick's -12 dB
Problem: bass overpowering kick in low end
Maintaining a -20 dB average level for the bass ensures it doesn't overpower the kick's -12 dB peak. This creates a dynamic relationship where the kick can cut through while the bass remains present. The contrast allows…
Use unison for width, tested in mono for stability
Problem: unstable stereo imaging
The speaker adds unison to widen the sound but emphasizes testing in mono to ensure the stereo effect doesn't collapse or become unstable. This is critical for maintaining clarity in both stereo and mono playback…
Apply saturation with gain staging for controlled character
Problem: over-saturation and clipping
The speaker uses a saturator to add warmth but immediately reduces the output to maintain headroom. This practice, called gain staging, prevents clipping and ensures the saturation effect remains subtle and musical…
Avoid adjusting levels outside of context to maintain mix balance
Problem: imbalanced mix due to isolated volume adjustments
The speaker acknowledges the temptation to lower a track's volume when it feels too loud, but warns against making such adjustments without hearing the full mix. This prevents imbalanced frequency responses and ensures…
Channel strips simplify mixing workflows for traditional genres
Problem: complex plugin chains in mixing
Channel strips combine EQ, compression, and saturation into one plugin, mimicking analog consoles. They’re ideal for rock mixing workflows where simplicity and quick recall are needed. While CPU-intensive, they reduce…
Use gain plugins for level adjustments between processing stages
Problem: imbalanced levels, clipping
Gain plugins are essential for balancing levels when importing tracks or adjusting signal flow between plugins. They help maintain proper gain staging, preventing clipping and ensuring optimal headroom. This is a…
Monitor gain staging to avoid clipping and maintain headroom
Problem: clipping, lack of headroom
Keeping an eye on the gain staging is crucial to avoid clipping and to maintain headroom in the mix. This ensures that the track remains dynamic and has the potential to be mastered properly. It's a fundamental part of…
Boost the signal after ducking with a glue compressor
Problem: drums lose level after compression
After applying a glue compressor, the producer boosts the signal by about 2.5dB to compensate for the ducking effect. This ensures that the overall level of the drums remains consistent while maintaining the punch and…
Gain stage by pulling down hot channels on region gain
Problem: unbalanced levels cause masking
Before adding processing, use region gain to bring hot tracks down to a neutral level. This prevents overloading plugins and ensures a clean starting point for mixing. It's a foundational step that avoids masking issues…
Calibrate VU meter to -18 dBFS for accurate gain staging
Problem: inconsistent level references
A properly calibrated VU meter ensures consistent level references. Setting it to -18 dBFS provides a standard baseline for gain staging, which is crucial for maintaining headroom and avoiding clipping during mastering.
Set kick to -5 dB true peak and 0 dB VU
Problem: transients overpower low end, poor translation
The VU meter reflects low-end energy (sustained levels), while true peak measures transients. Setting the kick to 0 dB VU ensures the low end is balanced, and -5 dB true peak prevents transients from overpowering the…
Set peak and VU targets for foundational elements
Problem: inconsistent levels, lack of headroom
Aim for -5dB on the peak meter and 0dB on the VU meter when balancing kick, bass, and snare. This provides a reference point for headroom and ensures foundational elements are neither too loud nor too quiet. The…
Set initial gain to -5 dBFS peak for headroom
Problem: unbalanced levels, lack of headroom
Before processing, adjust all tracks so the loudest element (usually the snare) peaks at -5 dBFS. This creates headroom for dynamic processing and prevents clipping. The goal is to ensure no element is overly loud or…
Mistake: Skipping gain-staging before processing
Problem: poor processing decisions due to unbalanced levels
Mixing without first balancing levels can lead to poor decisions during EQ and compression. If the mix is unbalanced, processing won't fix fundamental issues like competing frequencies or dynamic imbalances. Always set…
Lower all tracks by 3dB to create headroom
Problem: excessive peaking, limited headroom
When peaks are too high (e.g., near 0dB), reducing all tracks by 3dB creates immediate headroom. This prevents overloading the limiter and ensures the mix has space for dynamic processing. The speaker demonstrates this…
Target kick at -5dB peak and 0 VU
Problem: weak or overpowering kick
A strong kick should peak around -5dB on the meter while sitting at 0 VU for consistent loudness. This balance ensures the kick is punchy without overpowering the mix. The speaker adjusts gain staging to achieve this,…
Gain-stage using a VU meter to match reference levels
Problem: Inconsistent gain staging, over-compression
Use a VU meter to visually align your track's levels with a reference track. This ensures consistent gain staging without relying on auto-make-up gain. The speaker demonstrates matching peak levels by adjusting output…
Adjust output gain post-compression to control peak levels
Problem: Over-compression, excessive peak levels
After applying compression, reduce output gain to maintain desired peak levels (e.g., -5 LUFS). This prevents over-compression while preserving the compressor's dynamic shaping. The speaker demonstrates this by lowering…
Use VU meter to set kick levels just below 0dB
Problem: improper gain staging leading to clipping
Proper gain staging is critical for headroom. Set kick levels to hover just below 0VU (with peaks around -5dB) to avoid clipping while maintaining dynamic range. This ensures the kick has enough headroom to breathe in…
Gain match before applying transient shaping
Problem: inaccurate transient shaping due to level mismatch
Matching levels before processing ensures dynamic and tonal adjustments don't mask underlying issues. This workflow step prevents over-processing and maintains balance. It's critical for accurate transient shaping, as…
Manage peaks before dynamics processing to avoid compensation
Problem: peaks triggering dynamics processors, loss of headroom
Peaks in the audio can trigger dynamics processors like compressors or limiters, forcing you to reduce overall levels later. By addressing peaks upfront (e.g., using a limiter or gain staging), you preserve headroom and…
Use gain automation to level out dynamic inconsistencies
Problem: dynamic inconsistencies in live recordings
Inconsistent loudness in live recordings (e.g., quieter and louder sections of a bass line) can be corrected with gain automation. This allows manual adjustment of volume levels over time, ensuring evenness without…
Set levels before processing — balance is the foundation
Problem: imbalanced levels leading to poor processing decisions
The speaker emphasizes establishing proper volume relationships between elements before applying any processing. This ensures EQ and compression won't be used to fix imbalanced levels. When levels are correct, the mix…
Use a mix bus to monitor overall levels and headroom
Problem: overloaded mix bus causing distortion
The mix bus is used to check the combined output of all tracks. By routing everything through bus 32, the producer can visually monitor levels and ensure they stay below -5dB to maintain headroom. This prevents clipping…
Use gain staging at the group level for consistent levels
Problem: inconsistent group levels causing imbalance
Adding a gain plugin to groups allows for precise level adjustments across multiple tracks. This ensures all elements in a group (e.g., guitars) sit at similar volumes, creating a cohesive sound. Group gain staging…
Create headroom by pulling down competing elements when boosting vocals
Problem: vocal buried under other elements
To make the vocal stand out, the producer reduces other elements by a few dB. This creates space for the vocal without over-processing it. Headroom management is critical for maintaining dynamic range and ensuring the…
Set levels before processing to establish balance
Problem: inconsistent levels before processing
Adjusting faders first ensures the mix has a solid foundation before applying compression or EQ. This prevents over-processing later and allows for more precise adjustments. The speaker emphasizes that balance is the…
Mistake: Skipping gain staging before compression
Problem: unpredictable compression results
The speaker warns that without proper gain staging, it's impossible to predict how compression will affect the vocal's placement in the mix. This leads to imprecise decisions and a lack of control over dynamics. Gain…