Use volume shaping to control the presence of ear candy
Problem: ear candy is too loud or distracting
Controlling the volume of ear candy elements is crucial to ensure they don't overpower the main elements of the track. Using a volume shaper or automation can help manage their presence, allowing them to add texture…
Adjust volume and reverb of ear candy elements for better integration
Problem: ear candy elements overpower the mix
Reducing the volume and reverb of ear candy elements ensures they blend well with the rest of the track. This is important to avoid overwhelming the mix, especially in ambient and mellow genres where subtlety is key. The…
Use a volume shaper to sync with kick hits
Problem: synth not syncing with the rhythm
Applying a volume shaper that syncs with kick hits can help shape the dynamics of a synth or other element in time with the beat. This technique is useful for creating rhythmic interest and ensuring that the synth sits…
Use a slight volume boost on the hero instrument to make it stand out
Problem: hero instrument gets lost in the mix
Boosting the volume of the hero instrument by 2 dB helps it cut through the mix and draw the listener's attention. This is especially useful in house and melodic techno, where the hero instrument (like a piano or synth)…
Balance reverb volume with original sound
Problem: reverb overpowering original sound
When using reverb, the original sound's volume can decrease, so it's important to manually adjust the levels to maintain balance. This ensures that the reverb doesn't overpower the original sound, preserving clarity and…
Adjust gate volume and filter depth for background texture
Problem: gated layers overwhelm the main sound
Setting the gate to a low volume and closing the filter tightly ensures it sits in the background without overpowering the pluck. This allows the gate to add subtle movement while maintaining clarity in the mix. The…
Mistake: Boosting loudness without addressing accuracy
Problem: over-reliance on loudness for perceived quality
Simply increasing the volume or brightness of the snare without considering its context in the mix can lead to imbalance. This mistake often results in a snare that sounds harsh or out of place. Producers should focus on…
Balance kick and snare levels using VU meter as reference
Problem: volume mismatch between kick and snare
After setting the kick's level, the snare is added while monitoring the VU meter to ensure it doesn't exceed -5 peak. This approach prioritizes low-end stability since the snare's impact on the VU is minimal compared to…
Adjust master volume to mimic mastering
Problem: mix lacks final polish or loudness
Boosting the master bus volume slightly can simulate the final loudness and balance achieved during mastering. The speaker increases the master volume to "mimic mastering," which helps the mix feel more polished and…
Adjust kick level relative to reference track
Problem: Kick-bass level mismatch compared to reference
Match the kick's volume to the reference track by adjusting its level. The speaker reduced their kick by 3 dB to align with the reference's kick, which was 3 dB quieter than their bass. This maintains proper dynamic…
Plan for volume automation and fine-tuning later
Problem: overcommitting to early volume decisions
Initial volume balancing should focus on group levels and key elements, with detailed automation and adjustments reserved for later stages. This allows for a more cohesive approach to dynamics and ensures that initial…
Volume is 90% of mixing when recordings are high-quality
Problem: over-processing good recordings
The speaker emphasizes that when source material is well-recorded, most of the mixing work revolves around volume balancing rather than heavy processing. This reduces the need for EQ, compression, and other corrective…
Volume balance creates 3D depth and space
Problem: lack of spatial dimension in mix
The speaker demonstrates how adjusting fader levels can shape the perceived depth and spatial positioning of elements in the mix. By balancing volumes, you can create a sense of front-to-back and left-right positioning…
Use volume adjustments instead of EQ for tonal balance
Problem: over-reliance on EQ for balance
When the source material is high-quality, the speaker prioritizes volume balancing over EQ to shape the mix. This approach avoids over-processing and maintains the natural tonal characteristics of the recordings. It's…
Set volume balance before processing
Problem: poor level decisions leading to poor processing
The speaker emphasizes that volume balancing (setting fader levels) should precede any EQ or compression. This creates a clear reference point for all other decisions. Without proper balance, processing becomes reactive…
Adjust vocal levels in specific sections
Problem: vocal clarity in specific sections
The speaker identifies a section where the vocal needs to be louder, demonstrating the importance of section-specific level adjustments. This shows how even after initial balancing, fine-tuning is needed to maintain…
Use volume shaper automation to imitate sidechain without actual sidechain routing
Problem: complex sidechain routing needed for rhythmic control
By attaching a volume shaper to a gain plugin's automation, you can create dynamic volume modulation that mimics sidechain behavior. This approach avoids the complexity of traditional sidechain routing while achieving…
Avoid overusing compressors or volume faders for loudness
Problem: unnatural loudness through compression
The video explicitly advises against relying on compressors or volume faders to increase loudness. These methods can lead to a loss of dynamic range and unnatural sound. Instead, targeted saturation provides a more…
Set initial volume in plugin before mixer adjustments
Problem: inconsistent volume levels during mixing
Starting with volume settings directly in the plugin ensures a balanced foundation before using the mixer. This prevents overcompensation later and saves time during mixing. The speaker emphasizes this as a workflow best…
Set reference tracks 12dB below your mix
Problem: ear fatigue when comparing mixes
The speaker recommends lowering the reference track volume by 12dB to avoid ear fatigue while still being able to hear the differences between your mix and the reference. This allows you to focus on fixing issues like…
Use volume and automation to create a 3D mix
Problem: lack of depth and dimension in mix
Volume and automation are powerful tools that can be used to create depth and dimension in a mix. By focusing on these foundational tools early in the mixing process, producers can build a more immersive and spatially…
Manually clip and adjust volume for precise drum level control
Problem: over-reliance on automation, lack of manual control
Instead of relying solely on compression, the speaker manually clips individual drum hits and adjusts their volume for precise control. This method allows for surgical adjustments to specific problematic hits without…
Recognize the value of volume automation plugins
Problem: inefficient volume balancing
A specific volume automation plugin is praised for its intuitive workflow, demonstrating that specialized tools can significantly improve efficiency in volume balancing tasks. This highlights the importance of having…
Automate volume cuts for dynamic interest in bass
Problem: static bass lacking dynamics
Automating volume cuts at key moments (e.g., end of bars) creates rhythmic tension and release. This technique emphasizes the bass's presence during dynamic shifts, making it more engaging. It works well with percussive…
Apply volume automation for smooth element transitions
Using volume automation to gradually fade elements creates seamless transitions in the track. The speaker implements this by slowly reducing the volume of a sample, demonstrating how automation can be used to avoid…
Use volume automation to remove snare tails
Problem: muddy low-mid range
Draw volume automation curves on the snare to cut off decaying tails after 100ms. This prevents muddiness in the low-mid range. Use a fade curve for smooth transitions. Common mistake: leaving tails uncut causes…
Mimic crossfader cuts with the volume shaper
Problem: precise volume transitions
Use the volume shaper to create abrupt or gradual volume cuts, replicating the behavior of a DJ crossfader. This is useful for transitions between tracks or for adding dynamic contrast in a mix. The curve's slope…
Use Shift to select multiple tracks for volume control
Problem: inconsistent track levels
Ethan selects all tracks by holding Shift and adjusting the master fader to control overall volume. This is a gain-staging technique that ensures consistent levels across the mix. The method allows for quick adjustments…
Lower oscillator volume to prevent clipping
Problem: clipping from high oscillator levels
After adjusting oscillator parameters in U-he Diva, reducing the overall volume (e.g., to -7dB) helps prevent clipping and maintains headroom. The speaker demonstrates this as a necessary step after modifying the…