Below is a suggested step by step approach to apply to your mix – it is intended to get you started and make sure you don’t miss any important steps that will make achieving a great mix harder than it already is!
Step 1 – Admin
The very first thing to do is to make sure your project is organised, get rid of any unnecessary parts, make decisions on multiple takes, and get your project organised, so you have a great starting point.
Naming/Colouring/Comping/Organising/Top & Tail/Spill Removal
Step 2 – Frequency Removal/Corrective EQ
Before you attempt to get your first rough balance, you should apply High Pass Filtering to every track. This isn’t to change the character of the sound, but to make sure there are no subsonic frequencies that will interfere with the balance of similar instruments later on in the process. Apply a high pass filter on every channel, and adjust the turnover frequency to remove any unwanted content. On bass instruments this could be set as low as 30 or 40Hz depending on the instrument in question, with other elements adjusted to remove content below where it is needed. A good tip is to move the filter up the spectrum until you hear it start to change the instrument, then back it off. You should also make use of Parametric bands at this point to remove any overtones or ringing from any sources that require it.
Step 3 – Rough Balance and Pan
You are now ready to get a rough balance together. Start by panning any stereo sources, then worked in either an additive or subtractive way to introduce each element one at a time, trying to avoid any masking where possible.
Step 4 – Dynamic Control
You can now think about applying compression to any sources where it is required. Remember that compression shouldn’t be applied to everything! Only very dynamic sources that need control, or where it is required to thicken or fatten up an element such as a kick drum or snare.
Step 5 – Creative EQ/Tone Shaping
You are now in a position to make decisions on the tonal balance of your mix. Do your guitars each need their own space? Is there a clash between the kick and bass that needs remedying? Try and think of how all of the elements fit together and avoid working in isolation – remember we are trying to achieve a mix rather than making a single element sound amazing!
Step 1 – Admin
The very first thing to do is to make sure your project is organised, get rid of any unnecessary parts, make decisions on multiple takes, and get your project organised, so you have a great starting point.
Naming/Colouring/Comping/Organising/Top & Tail/Spill Removal
Step 2 – Frequency Removal/Corrective EQ
Before you attempt to get your first rough balance, you should apply High Pass Filtering to every track. This isn’t to change the character of the sound, but to make sure there are no subsonic frequencies that will interfere with the balance of similar instruments later on in the process. Apply a high pass filter on every channel, and adjust the turnover frequency to remove any unwanted content. On bass instruments this could be set as low as 30 or 40Hz depending on the instrument in question, with other elements adjusted to remove content below where it is needed. A good tip is to move the filter up the spectrum until you hear it start to change the instrument, then back it off. You should also make use of Parametric bands at this point to remove any overtones or ringing from any sources that require it.
Step 3 – Rough Balance and Pan
You are now ready to get a rough balance together. Start by panning any stereo sources, then worked in either an additive or subtractive way to introduce each element one at a time, trying to avoid any masking where possible.
Step 4 – Dynamic Control
You can now think about applying compression to any sources where it is required. Remember that compression shouldn’t be applied to everything! Only very dynamic sources that need control, or where it is required to thicken or fatten up an element such as a kick drum or snare.
Step 5 – Creative EQ/Tone Shaping
You are now in a position to make decisions on the tonal balance of your mix. Do your guitars each need their own space? Is there a clash between the kick and bass that needs remedying? Try and think of how all of the elements fit together and avoid working in isolation – remember we are trying to achieve a mix rather than making a single element sound amazing!
Step 6 – Depth & Width & Ear Candy
Reverb and the use of Delay adds a 3D element to your mix, and should be used to try and place different elements in an acoustic space, as well as gluing the whole mix together. A combination of insert reverbs, plus two or three Aux channels with different reverb characters on is usual. You should also revisit your balance at this stage, listening carefully to anything that may have changed as you have added processing. Now is also a good time to add in any special effects, or bits of ear candy to add excitement to your mix
Step 7 – Automation and Export
Now you have a great sounding static mix, it is time to work on your automation. As you have an upper limit set on each channel, be careful to think about reducing the level of elements rather than too much boosting – this will overload your master fader. You should also consider detailed vocal automation to keep the vocal audible above the mix. You are now ready to export your first mix for some further listening, before returning to perform any required tweaks once you have lived with your mix for a few days.
Step 7 – Automation and Export
Now you have a great sounding static mix, it is time to work on your automation. As you have an upper limit set on each channel, be careful to think about reducing the level of elements rather than too much boosting – this will overload your master fader. You should also consider detailed vocal automation to keep the vocal audible above the mix. You are now ready to export your first mix for some further listening, before returning to perform any required tweaks once you have lived with your mix for a few days.