Here are the first 35 mixdown tips from an EDMPROD Blogpost:
(The first 10 tips are about preparation, that is – preparing your track before the final mixdown, which leads to my first point.)
1. Do a final mix at the end
Check out this article on the difference between mixing as you go vs. mixing down at the end. Either method works great for different people.
Separating the creative/musical and creative/technical side can be incredibly helpful, not only to workflow but production quality as a whole.
2. It all starts with sound design and sample selection
If you’re trying to mixdown a track that has a poorly designed bass, horrible kickdrum, and ugly hi-hat – then what’s the point?
Mixing is not something you do just at the end of your production, it’s something that you have to think about from the moment you open your DAW.
3. Be happy with everything else first
Before doing the final mixdown, take a listen through your track a few times and make sure you’re content with the arrangement and everything else (you don’t have to be completely happy with how it sounds sonically, as you’ll be fixing that in the mixdown).
4. Label and color tracks
Our brain responds to color faster than it does to words. When mixing down it’s important you know what section you’re working on, you don’t want to EQ your bass while listening to your synth.
I typically color all my drums and percussion yellow, bass blue, and synths green.
Having an already set up template can help with this, and I recommend creating one.
5. Using audio over MIDI has its benefits
There are actually a few benefits to working with audio:
- You can visually see where the audio starts and ends, making it easy to clear things up (reverb tails, delay tails, etc)
- It’s more CPU-friendly
- It’s easier to work with in general
6. Group similar tracks
Grouping similar tracks can help you to achieve a more ‘unified’ sound through bus compression, EQ, reverb, and whatever else.
It’s also a lot easier to turn one fader down instead of 5. If your drum section is too loud, then you can simply turn the group fader down.
7. Mixdown earlier in the day, if possible
If you’re listening to music all day, or working in a place with loud noises – then mixing down afterwards can be dangerous due to your already fatigued ears.
Our ears are a lot more fresh and unbiased in the morning.
Whether this has an identifiable significant difference is another story, but it’s worth trying out.
8. Start with all the faders down
It’s a lot easier to get a good balance by turning the volume up from nothing. In preparation, turn all the faders down and then start with the element you want to be the loudest (in most EDM this would be the kick drum)
9. Highpass everything
You might want to do this after the preparation stage, I like to do it before.
Filter out all the unneeded low-end information from each track. Highpass up until the point where it affects the sound, and then pull it back a bit just to stay on the safe side. This is a good starting point.
Note: Kick and sub-bass are an exception here. Along with anything else you think needs frequencies under 100Hz.
10. Choose reference tracks
Mixing without reference tracks is like drinking alcohol for no apparent purpose. You feel great at the time, but in the morning when you wake up you ask yourself, “Why the hell did I do that?”
Don’t overestimate your abilities. Reference tracks are in my opinion, essential.
MIXING IN GENERAL
(The next 25 tips are about mixing in general, this includes creative and technical aspects.)
11. Start with your most important element
In any given song you’ll have one element that’s the most important. In an acoustic song it might be the vocal, in dubstep it might be the snare, and in trance it might be the kick.
Work out what this is and start with it, use it as a reference point and build all other elements around it (for this reason I typically start with the kick, any time I add an element that causes the kick to lose punch I know I need to adjust the new element).
12. Devote time to your mixdown
If you know that you’re going out in 30 minutes, then it’s probably not the best time to start a mixdown. Find a time where you can commit a couple of hours solely to your mix.
13. Mix at low volume
Mixing at a low level not only reduces the risk of ear fatigue (and permanent hearing damage), but it’s a great way to judge your mix more accurately because:
- You have less harsh room reflection
- You can get a more accurate balance, if you can’t hear something at a low level then it may be too quiet
- If it sounds good at a low volume, it’s generally going to sound good at a high volume
14. Mastering won’t fix anything
Don’t tell yourself that mastering will fix the problems you have in your mix. It simply won’t. Don’t just procrastinate and convince yourself that mastering will fix it.
15. Learn to use your tools
A new plugin will not make your mixdown sound significantly better if you don’t know how to use the tools first. If you’re unaware of how a compressor works, then why would you buy (or acquire) a different one?
16. Consider using volume automation instead of compression
If you’ve got some loud peaks in your song, compression can fix them – but so can placing a little dip with an automation clip. It’s a lot more flexible and may just prove beneficial to you.
17. Subtle sidechaining can work wonders
Doing subtle sidechain compression creates a lot more room for the kick to punch through, and who says you need to sidechain with a kick? You could use another synth, or anything else. Be creative!
18. Spectrum analyzers are invaluable, but ultimately rely on your ear
You’d be silly to work without them, but it’s important that you make final calls with your ear. Use both!
19. Don’t blame your bad mix on the tools you have
Whether it’s VST’s, your DAW, or your monitoring environment – don’t make excuses.
Good tools help a lot, but they aren’t required. The most important thing is that you know your gear inside and out.
“My studio was lo-fi by necessity; I was fourteen with no reliable income. I was monitoring my music using $100 Logitech speakers, and I only used software.” – Porter Robinson
20. Don’t wear a beanie
Or anything else that covers your ears, for that matter. Wearing something over your ears blocks out a lot of high-frequencies and is horrible for mixing and making music in general.
21. Be creative
Don’t get stuck in the ‘rules box’, where you don’t dare venture off from the fundamental guidelines. While these are important if you want to get a good sound – they’re only guidelines and not rules, if it sounds good – it sounds good.
22. Don’t overuse compression
At the end of the day, most of us are using digital instruments, meaning that we’re not really recording in anything that has an extreme variable volume. Because of this, most of our source material is already pretty even – it doesn’t have huge dynamic range.
Don’t use compression ‘just because’, use it if you need to or want to change the characteristic of a sound. If you’re working with vocals then you’ll almost definitely need to compress, but with soft synths it’s not always necessary.
23. Try a new technique
If you’re focused on learning how to mix better, then try something new. It might be parallel compression, or rhythmic delays.
On the other hand, if you’re doing a mixdown for someone – or releasing an important track, then play it safe and make sure you don’t screw anything up with your new technique.
24. Don’t copy other artists blindly
If Noisia boost their snares at 150Hz, then it doesn’t mean you should start doing it from then on in every song you make.
If you’re wanting to learn new techniques, you first have to workout why the producer did it. Was it to add more punch? Was it to clean up the mix?
Whatever it is, work out why they did it, and then adapt it to your own productions.
25. If you don’t know what it does, don’t use it
If you’re not sure of what something does – why not research it? Or listen to the actual effect it has. Why are you using a transient shaper on your snare if you don’t know what it does? You get the idea.
Study and then use.
26. Recalibrate your ears
I’ll talk more about breaks in the workflow section, but after mixing for long hours at a time it’s important to take a long break (30-60 minutes or more) to completely recalibrate your ears so you can start fresh afterwards.
It helps to actually go somewhere without too much noise. While listening to music isn’t necessarily bad, it can be a distraction. Go outside, take a walk on the beach, at least get out of your chair!
27. Use automation to make your mix sound great
One thing I like to do is get my mix sounding good with minimal automation, and then leverage automation to make it sound fricken excellent.
The reason for this is that automation can be a big distraction, it’s quite a time consuming thing when done properly, but it’s that last 5% of a track that lets you show off your technical skill level and creativity.
So try to automate things after your basic mixdown. You may find that you run into some problems after automation, so you’ll have to fix them up at the end.
28. If it sounds good, leave it!
This goes for everything, mixing and sound design to creating melodies. Don’t overproduce, know when to stop.
If you EQ something, and it sounds good – just leave it! Don’t make it sound worse by adding a plethora of effects on top. Minimalism > trying to appear more creative.
Note: Try to build the habit of consciously asking yourself whether you need to add ‘Effect A’ or not.
29. There are no rules, only guidelines. Just don’t do the opposite
Guidelines are helpful, people shouldn’t despise them. Of course they can be avoided, but if someone tells you that you should have sub-bass in mono – don’t be a hipster and stick it in stereo.
Likewise, don’t try to stack 10 supersaws on top of 5 different pluck sounds. Unless you want your track to sound horrible.
30. Subtle white noise can make massive difference to a mix
There’s a reason why it’s used in 90% of EDM tracks. It’s a waveform that has no tone, and it’s great for filling out your mix.
Use it sparingly of course, there’s nothing worse than an abundance of white noise that drowns out everything else. You can use it rhythmically, sidechain it, whatever! Experiment.
31. Mix your drums and bass first
This might be a little contradictory to tip #11, and it is quite genre-dependent.
A lot of electronic dance music relies on the drums and bass as foundation elements. After all, that’s what makes people dance. Starting with these elements in your mix can provide a much easier template to work off compared to going backwards from something like the synths and FX.
It’s also arguably the hardest part to get right in the mix, so if you sort it out first then it’s less of a mission to do the rest.
32. The less detailed your low-end is, the better
You know what that means, right kids? Keep It Super Simple.
Above the 200Hz range you can be a little less careful, but anything below that is going to cause issues when it overlaps too much. Don’t get stuck in the muddiness.
33. Always sleep on it
You’ve just been mixing for the last 6 hours, there’s no way that what you’re hearing is completely accurate.
If you finish a mixdown, wait until the morning and listen to it with a pair of fresh ears. I know this is hard, as we all want to share our art with the world – but it’s better to be safe than sorry.
34. Clean up delay and reverb tails
Reverb and delay tails are hard to overlook, and unfortunately they can add a lot of unwanted and unnecessary muddiness to the mix. I’d recommend bouncing down to audio as you can see where the tails end visually.
35. Use the bypass function
Most DAWs allow you to bypass an effect with a single mouse click. Do this while using a mixing plugin to hear the difference.
Some more expensive effects, such as plugins from the Waves Renaissance Bundle allow you to switch between two presets within the same VST/AU shell.
Part 2 to follow tomorrow! Want to learn this process in an intimate, hands-on environment? That’s what we do. Email Sarah or call 617.849.9321 today. For a list of our courses click here.