EVERY TIP to make your Mixes Clean and Loud!
Summary
TLDRIn this insightful audio mixing tutorial, Evan Jaffy from Custom Cut Studios addresses the common query of achieving loud and clear mixes. He emphasizes that clarity comes first, suggesting that a decluttered mix naturally allows for increased loudness. Jaffy explains the importance of arrangement, avoiding low-end frequency clashes, and using parallel compression to enhance loudness without sacrificing dynamics. He also highlights the significance of side chain highpass filters on the mix bus to prevent pumping and maintain a balanced dynamic range. The tutorial is a must for aspiring sound engineers seeking to understand the psychological aspects of mixing beyond mere sound examples.
Takeaways
- 🔊 Clarity over Loudness: Achieving a loud mix comes from decluttering and ensuring clarity, not just pushing levels higher.
- 🎶 Arrangement Matters: A well-arranged song with proper spacing and building prevents frequency clashes and allows for a louder mix.
- 🚫 Avoid Over-Boosting: Boosting low-end on every instrument can create a muddy mix that lacks the clarity needed for loudness.
- 🔧 Parallel Compression: This technique helps in making quieter elements of the mix louder without affecting the louder parts too much.
- 📊 Mid-Range Focus: The mid-range frequencies are crucial for achieving loudness; clarity in this range is key.
- 🛠 Side Chain Highpass Filter: Using this on the mix bus allows the compressor to work on the mid and high frequencies without reacting to the low-end.
- 🔄 Full Bandwidth Processing: A full bandwidth compressor on the mix bus is preferred, with the low-end removed from the detection circuit.
- ⚙️ Multimono Processing: Using multimono for parallel processing treats the left and right channels differently, which can be beneficial.
- 👂 Reference Mixes Wisely: Instead of matching volume, use reference mixes to compare the feeling and clarity of specific elements like vocals or snare.
- 🚫 Avoid Over-Processing: Over-processing, especially on the mix bus, can lead to pumping and a loss of dynamics, which detracts from the mix's loudness and clarity.
Q & A
What is the most commonly asked question about mixing audio?
-The most commonly asked question is how to make mixes sound as loud and clear as professional mixes.
What is the analogy used to explain the concept of making a mix loud?
-The analogy used is how the sky is blue on a clear day; similarly, a mix can be loud when it is decluttered and everything is clear.
Why is focusing on concepts more important than sound examples when learning to mix?
-Focusing on concepts helps the understanding to reach deep within one's psyche, enabling better learning and application of mixing techniques compared to just focusing on sound examples.
What is the term used to describe the situation where boosting the low end on every instrument results in a mix that is not loud?
-The term used is 'muddy mush' or 'gobby soup of low end,' which describes a mix that is too dense and cluttered in the low frequencies to be loud.
What is the role of arrangement in achieving a loud mix?
-Arrangement plays a crucial role as a good arrangement ensures that elements in the mix do not step on each other in the frequency spectrum, preventing a cluttered and dense mix that would not sound loud.
What is parallel compression and how does it contribute to the loudness of a mix?
-Parallel compression is a technique where a signal is compressed to bring up the quieter parts of the mix, allowing the overall mix to be louder without sacrificing dynamics.
What is the significance of the mid-range frequencies in making a mix sound loud?
-The mid-range frequencies are significant because they contribute to the perceived volume of a mix. Clear and well-managed mid-range can make a mix sound louder.
What is the purpose of using a side chain highpass filter on the mix bus compressor?
-The purpose of using a side chain highpass filter is to prevent the low-end frequencies from triggering the compressor, allowing the mid-range and high-end frequencies to be compressed without the low end affecting the gain reduction.
Why is it not recommended to use multiband processing on the mix bus according to the script?
-Multiband processing on the mix bus is not recommended because it can lead to an unnatural balance where raising the level of certain elements can cause the processor to perceive more level and lower them, not achieving the desired result.
What is the importance of maintaining dynamics when mixing to achieve loudness?
-Maintaining dynamics is important to avoid a mix that sounds too loud and compressed, where everything has the same volume and there is no dynamic range, which can lead to a less engaging and less pleasing listening experience.
How should one use reference mixes to improve their own mix?
-Reference mixes should be used to compare specific elements, such as the snare sound or vocals, and to ensure that these elements give the same feeling as in the reference mix. The goal is not to match the volume but to achieve clarity and a balanced mix.
Outlines
🔊 Achieving Loud and Clear Mixes
The speaker addresses the common question of how to make mixes sound as loud and clear as professional ones. They emphasize that it's not about boosting volume directly, but rather about decluttering the mix to allow clarity, which in turn enables the mix to sound louder. They compare it to the concept of the sky being blue on a clear day, not because of direct action, but due to the absence of clouds. The importance of understanding concepts over relying on sound examples is highlighted, as well as the psychological aspect of mixing. The speaker introduces the idea of parallel compression as a technique to increase loudness by making quieter elements louder without affecting the louder ones, which is a concept attributed to Andrew Sheps.
🎛️ Mix Clarity Through Sidechain Highpass Filters
The speaker clarifies the use of sidechain highpass filters in mix bus processing. They explain that these filters remove low-end frequencies from the detection circuit of a compressor, allowing it to work on mid and high-end frequencies without being triggered by the low-end content, which is typically the loudest part of a mix. This results in a mix that can be louder without the low-end frequencies dominating and causing the mix to sound muddy. The speaker advises against using multiband processing on the mix bus, as it can lead to an unnatural balance and unwanted pumping effects. They recommend using a full bandwidth compressor with a sidechain highpass filter set at around 125 Hz or 90 Hz, depending on the plugin, to maintain a balance that allows the mix to sound louder.
📈 Enhancing Mix Loudness with Parallel Compression
The speaker discusses the concept of parallel compression as a method to enhance the loudness of a mix. They suggest using multiple instances of parallel compression, each with different compressors, to bring up the quieter elements in the mix. The speaker advises sending mid-range elements like keyboards, vocals, and guitars to the parallel processing, while leaving drums and bass out to maintain their impact. They explain that by reducing the transients in the parallel processing, the quieter elements can be raised in volume, contributing to the overall loudness of the mix. The speaker also touches on the importance of maintaining dynamics and not over-compressing to the point where the mix loses its natural dynamic range.
👂 Focusing on Clarity and Loudness in Mixing
The speaker stresses the importance of focusing on clarity over loudness when mixing. They argue that once a mix is clear and not muddy, it will naturally sound louder. The speaker identifies a specific frequency range, from approximately 150 Hz to 4 kHz, as crucial for achieving loudness and suggests that clarity in this range is key. They also mention the importance of managing low-end frequencies so they do not dominate the mix and prevent it from sounding loud. The speaker advises against setting the low-end too high on the mix, as it should only peak at its fundamental frequency and slope downwards from there. They also discuss the use of reference tracks to understand the feeling of a mix element rather than trying to match volume levels.
🚫 Avoiding Stereo Effects and Automation in Parallel Processing
The speaker shares their personal mixing philosophy, which includes avoiding stereo effects in parallel processing and focusing on multimono processing to treat the left and right channels differently. They emphasize the importance of using parallel compression in multimono to bring up quiet elements in the mix and to avoid over-compression that can lead to a loss of dynamics. The speaker also criticizes automated mixing tools that suggest generic processing curves, arguing that they do not consider the unique dynamics and interactions of different instruments in a mix. They conclude by encouraging mixers to focus on clarity and the concepts discussed, rather than trying to match the volume of reference tracks.
Mindmap
Keywords
💡Loudness
💡Clarity
💡Decluttering
💡Frequency Spectrum
💡Arrangement
💡Parallel Compression
💡Sidechain Highpass Filter
💡Dynamic Range
💡Multimono
💡Reference Mixes
Highlights
Critical things for making mixes loud and clear: decluttering the mix for clarity to achieve loudness.
Understanding the concept of mixing is more important than sound examples.
Avoiding a 'muddy mush' of low end by not boosting it excessively on every instrument.
The importance of a balanced mix with clear and defined elements for loudness.
Arrangement plays a key role in mix loudness by avoiding frequency clashes.
Great pop songs sound loud because they are less dense with sparse instruments.
Parallel compression is a technique to increase loudness by bringing up quiet elements.
Using a side chain highpass filter on the mix bus to prevent low end from triggering compression.
Disliking multiband processing on the mix bus due to its dynamic range issues.
The significance of managing the low end in mix bus processing for clarity and loudness.
Setting the side chain highpass filter appropriately to manage low end detection.
The role of full bandwidth processing on the mix bus with side chain highpass filter.
Combining parallel processing with mix bus processing to achieve a louder mix.
Using multi mono for parallel processing to treat stereo sides differently.
The importance of clarity over loudness when mixing, as loudness follows clarity.
The concept of maintaining dynamics while achieving a clear and loud mix.
The ineffectiveness of matching reference mixes for volume and the focus on individual elements.
Disapproval of AI mastering tools for their lack of dynamic consideration in processing.
Transcripts
by far the most commonly asked question
that I've ever heard in my life from
everyone trying to learn how to make
their mixes sound great is how do I make
my mixes as loud and as clear as yada
yada whoever right so let me tell you
how there's a few critical things here
number one you need an
analogy how do you make the sky blue you
can't there's no way to make the sky
blue but on a clear day
the sky is blue translate this to your
mix how do you make your mix loud you
can't but if you declutter the mix where
everything is clear you can now make
your mix loud that's the answer it's
never the answer you're looking for like
you just oh this is the key you raise
that there and then boom show you on an
audio example it's never that way you
got to realize the reason it's hard to
learn how to do this is because you're
probably too focused on sound examples
too focused on other things focus on
Concepts once the concept reaches you
deep within your psyche you will learn
how to do things well that's why I'm so
focused on the psychological aspect of
mixing I'm so focused on that because
that's all it took for me to really get
it sound examples didn't do anything for
me the concept understanding that is
everything so let me give you the
example here ready other than making
sure it's not cloudy and what I I mean
by cloudy I mean if you boost low end on
every instrument in your mix you're
talking you take low end up on the bass
low end up on the kick low end up on the
keyboards low what you've now created is
a muddy mush a gobbly g muddy soup of
low end that can't possibly exist in a
loud mix you've made it where there's so
much frequency H so much stuff happening
in the frequency spectrum in the low end
that it's impossible to make it loud
picture a seesaw like this your low end
is up here everything else is down here
and as a result you can't hear nothing
at a a volume comparable to what mixes
are that you love the mixes you love
that come out by these guys that are
Pros are balanced there therefor there's
nothing that's cloudy and
cluttered everything is clear and
defined and that is why they appear loud
all right this comes from a lot of
things Arrangement is one in other words
if you're designing the song and you
know you're putting all this stuff in it
if the things that you're putting in it
are stepping on each other in the
frequency spectrum if the arrangement is
not good in terms of where things come
in and come out and how the song builds
if the arrangements cluttered it will
always be a far too dense amount of
audio you know instruments in one
section to make it feel loud the reason
so many of these great pop songs like
you know anybody post Malone Chief Keef
any of these guys the reason these songs
sound loud is because they aren't very
dense the mixes are there's less
instruments in them doing anything and
the ones that are there are sparse so
like because there's less in it you can
make it louder because things aren't
stepping on each other so there's less
mud there's less clutter therefore you
can push into things like compression in
the mix bus and for things like that you
know Clippers whatever you can push into
these things and the whole thing doesn't
just get clomped it actually sounds
great so this is the concept okay
there's so many other there's like
specifics I'm about to give you also
like number one the trick for loudness
in my opinion is an Andrew Shep's thing
that he specializes in it's called
parallel compression what parallel
compression is is the low information
the stuff that exists that is quiet
gets to come up that's the point of it
all right the like I'm G to get I'm
getting to the points the real points
when you're using parallel compression
what you're really doing is you're
squashing a signal down you're taking
transients off the top you're making it
where that lowlevel stuff can now come
up in volume significantly compared to
the stuff that was at the top and that
allows you to raise all the stuff that
was quiet in the mix gets louder so use
one two three channels of parallel
compression if you want and send
everything to it that's in the mid-range
because the mid-range is where your
volume is the mid-range is what's going
to make things sound loud all right I'm
talking and I'm going to take it down a
little but like roughly this is how I
look at where mid-range is right we have
to go before I get there right it's you
got to also make sure you manage the low
end into in your mix bus processing now
a guy named FAS dropped a great comment
which allowed me to really consider that
something I maybe haven't explained yet
in detail and that's why I have to um
I've only gone over it quickly and I may
have even said something like the you
know it takes the low end out of it in a
video when you're using a side chain
highpass filter it doesn't take the
low-end out of it it takes the low end
out of the detector now I may have gone
way too fast in that video cuz that
wasn't the point of that video so I
didn't focus on it and that point is a
critical one to understand because by
taking the low end out of the detection
circuit on a compressor what you're
really doing right is the compressor can
now work on the mid-range and the high
end without reacting to the low end so
even though it is a full bandwidth
processing like in other words it's
compressing the full bandwidth but it's
not reacting to the stuff that hits it
first which is always lowend because
your Kick Your Bass that stuff's always
going to be like the the loudest stuff
in your mix so that low-end information
hitting your multi your mix bus
processing soon as it hits your mix bus
processing you're it's going to start
working on it and you don't want that to
happen so you got to use a side chain
high pass filter on your mix bus now I
don't like multiband processing on my
mix bus multiband processing is
basically where you would you could have
the ability to not compress the low end
at all and only compress the mid-range
and the high end for example but I don't
like that I don't like multiband
processing on my mix bus and I don't
like Dynamics processing on my mix bus
cuz what that basically is is your
raising the level of let's say some
guitars and now your multiband processor
is perceiving more level and lowering
them so you're raising it gets lowered
you never get the result you're looking
for whereas at least if you have the
full bandwidth processing happening on
your mix bus but you take the low-end
part out of the detection circuit at
least if you're doing that then you
actually get a result when you raise the
guitars here they will appear louder
after the mix bus processing it's not
going to be lowered by like the same
amount that you set so like that's why I
don't love it's just it's a reason in my
opinion to never use multiband
processing or Dynamics processing on
multiband Dynamics processing on the mix
bus so I use you know a full bandwidth
processor on my mix bus and there and I
take the low end out of it from 125 HZ
down it's out of the detection circuit
okay it's not out of the compressor I
take the low end out of the detection
circuit which means really let's say we
have it set where it's doing two DB of
gain reduction okay let's say it's doing
two decb of gain reduction from the
highest point all the way down to the
lowest point of the frequency spectrum
it's two DCB of gain reduction
throughout the entire thing now by
taking the low end out of the detection
circuit it's allowing it to do that in a
way that actually does compress the
mid-range and does compress the highend
because if you didn't take the low end
out of the compression circuit and you
wanted 2db of gain reduction that two
that low end would eat up the compressor
so quick that you'd be getting
significantly more than 2db of gain
reduction in order to affect the
mid-range and highend at all and if you
wanted to affect the mid-range and
high-end it would be ducking like crazy
because the low end would be eating up
every CU they take up the lowend
frequencies take up a ton of room so
once you understand this you got to use
something I like I use the side chain
highpass filter set at 125 Hertz because
that's how it comes on the piece of gear
that I use but if I'm doing it in the
Box I may set it at 125 cuz I like that
number I may set it at 90 which is the
high pass filter on the Mark Daniel
Nelson plugin that he came out with not
long ago which is also sounds great it's
it's you set it where you want but if
you know if he's doing it at 90 and I'm
doing it at 125 either of those work and
anything in between works so you set
that how you want that's the side chain
high pass filter on your mix bus
compressor all right and I want a full
bandwidth one in other words I don't
want multiband okay I don't want it to
just do mid-range and high-end and not
low end I want it to compress the low
end too I just don't want it to see the
lowend first and then react to the low
end that's the critical element to
understand okay now once you get that
what you've basically done is you've
made your mixbox processing work for you
now because now you can actually get
your mix louder just by understanding
that so you make sure you do that okay
now once you combine that with parallel
processing meaning the lowlevel
information that's quieter gets to be
brought up as much as you want you could
create three different tracks of
parallel processing one of them has the
ne you know 2254 on it another one has a
33609 another one has a API 2500 I'm
just I'm naming compressors it doesn't
matter the point is you could one has a
fair child just whatever you want but
the point is send things to that that
live in your mid-range like keyboards
vocals guitars even bass if you want but
I will generally leave the bass out of
it it's just the way I usually roll I'll
leave kicks snares like all drums stay
out of the parallel processing for me
that's on like I have several sets of
parallel processing and the drums have
their own the bass has their own and
everything else in the mix goes to this
other section because that generally is
where a lot of volume lives so in other
words I want to get my base right on its
own set of parallel processing I don't
really want a lot of interaction but you
could also you don't have to listen to
this and you could send base to your
parallel processing also like if it's a
synthy base that has a lot of mid-range
or whatever you sort of have to decide
what goes to your parallel process in
and then when you raise that you will
bring up the volume as much as you want
on this whole track because you're
bringing up the quiet stuff in other
words by Smashing the transients down on
your parallel processing that allows you
to bring up the quiet stuff as much as
you want and get as loud as you want and
it's all just about when is it too loud
when are you starting to kill the
Dynamics that's the you don't want to
kill Dynamics so that's your ceiling of
uhoh it's starting to get destroyed too
much you bring it down by working in
this way your super processed stuff
that's the the quietest stuff in the mix
can come up and then the stuff that go
like I always have so those parallel
processing buses right that's bringing
up the quiet stuff every instrument in
your mix like let's say you got
keyboards they're going to a keyboard
bus that for me most of the time is
relatively dry in other words the
parallel processing bus is able to come
up with the smooshed version and then
the keyboard bus that's relatively dry
not smooshed it maintains all the
transients it maintains this Clarity
that's coming up when I need more
transient more of the the attack of
whatever it is so in other words that's
the loudest stuff the Peaks will shine
through on your clean bus of that
instrument so your clean keyboard bus is
got all the spiky parts of the keyboard
or guitar or violins or whatever that
has the spike stuff and then the smoosh
stuff can come up to thicken it up even
more so you work it like that okay I I
don't I need more attack on on these
instruments I'm not hearing enough of
the initial hits raise the clean side if
you want to hear more of the stuff
that's quiet and you don't hear enough
of it raise the parallel compression
side you get it and by using parallel
compression in this way it's it it helps
a lot because if the vocals are quiet
then the other stuff that's with the
vocals actually is like comes through
more like in other words if you think
about you're sending vocals to the
parallel compression you're sending
violins guitars keyboards to the all the
parallel compression when the vocals Get
Loud those other things that are in the
parallel compression appear lower they
get lowered because the vocals are now
taking up more space in the parallel
compression so it's sort of like doing
automation for you so when the vocals
are quieter the guitars are now a little
bit louder and they come up so it's
making it where it it's sort of doing
this automation thing for you it's the
only way to describe it and it works so
well that's why Andrew sheps never
worries about volume he's said many
times what he tries to do is actually
make things not loud anymore he's he
realizes that he's making stuff too loud
sometimes and tries to not make it so
loud this is the problem you will have
when you understand these Concepts
parallel compression is your friend to
make mixes louder also that side chain
highpass filter is your friend to make
mixes louder because you'll be able to
have more base in your mix before the
compression on the mix bus starts
pumping which is a bad thing as soon as
you start hearing the compression on
your mix bus it's not good in my opinion
you don't want to hear it and if you
have lowend in it you will hear it so
that's why you need the side chain high
pass filter okay and you need parallel
compression to bring up the quiet stuff
because you will hear just by raising
your parallel compression channels and I
usually have three of them three of them
that get like most of the mix by
bringing those up you'll actually bring
up the volume of the mix so much because
it's bringing up the mid-range now let
me say this this is where I abandoned
ship before when I was talking ready the
mid-range I like to look at it like
everything above where the side chain
high pass filter is is technically
mid-range to me I know some of those are
like you know lows still but it doesn't
matter like for the purposes of
understanding if my side chain high pass
filter set at 25 I look at it like the
most important aspects of the mix the
stuff that makes you think the mix is
loud is going to be from just above that
so let's just say like 150 HZ up to like
3 and 1/2k let's just say okay you could
even take it up to like 4K if you want
but the point is that zone is the most
important Zone to get clear and right
within your mix the low end especially
get clear and right what I'm saying is
loudness comes from that zone I just
described like 150 htz all and
mids like low mids and stuff around 300
400 500 so helpful in if your mix isn't
right look there clear that up make that
sound great there you'll start to get a
lot of low-end power there also all the
way up to 3 and 1 12K super important
for your mix to sound good above that
stuff is the airiness quality if you
want stuff to sound Airy and expensive
you may have to add some air into it
above that zone you know that's why like
the Neeve 1073 is really cool because
when you turn the highs up it's set at
12K so just by turning the highs up you
get this like Airy brightness expensive
shininess that comes out of it just by
raising the highs it's permanently set
at 12K on their high band so think about
it like this you raise up 12K and up it
brings up this beautiful high airiness
right now it's the low-end below the the
the side chain high pass filter below
that is your Su lows and stuff that
doesn't doesn't make the mix seem loud
you just need that for the you know the
the the chest Rumble you need it for the
body shaking but if that stuff's eating
up everything first you're all over so
you need to set that the high the side
chain highp pass filter and you also
need that stuff to not be living at the
as at the zero line on your P that can't
be living there watch my car test you
know video I made on how to pass the car
test super helpful to just understanding
that it could Peak at the low-end
fundamental that could be the highest
thing close to the zero line and then it
should slope relatively downwards the
like behind it in other words if it
Peaks at 50 HZ 40 HZ should be a little
lower 30 HZ should be a little lower 20
HZ should be a little lower it should
sort of have a slope or in your case I
guess this way right sloping down from
there towards as low as it gets 10 Hertz
should not be at zero it should be only
at zero at whatever the fundamental is
of your low the lowest thing in your mix
that is the loudest thing in your mix
whatever the loudest thing in your mix
should be the closest to zero and it
should be sloping slightly downward from
there beyond that watch that car test
video trust me it'll help a lot if you
haven't seen it already just these
Concepts is the reason your stuff isn't
loud also reference mixes the right way
to use reference mixes in my opinion is
listen to stuff you like and then notate
one instrument from that mix that gives
you a feeling you like you should use
that when you're referencing don't
reference for volume like I said about
about that clear sky analogy your mix is
going to be loud once you understand
these Concepts and you make it where
it's not muddy as soon as you get the
mix to be clear Clarity in the mix is
your focus not loudness it will be loud
naturally soon as you clear out the
clouds now you can see the blue sky and
it's the same with your mix clear out
the Clutter now you'll be able to hear
the mix very loud and clear that's your
problem it's not how to get it loud okay
because once you get the clarity part
right what'll happen is that slope on
your P will be right your mid-range
won't be so much lower than your lowend
and as a result you'll be able to push
in more on your mix bus processing
without hearing the pumping and it will
sound better so in other words you can
make it even louder once you get the mix
balance right and the goal here is not
to just make it louder it's to maintain
Dynamics so as soon as I'm making
something too loud where I'm sacrificing
Dynamics it sounds like everything now
is the same volume and there's no
dynamic range anymore in it I know I've
pushed it too hard that's the ceiling
for me I try to maintain as much
Dynamics as I can while also making it
clear and loud you understand and though
clear and Loud comes naturally just by
making the balance right so once you get
your head around all this stuff on how
to parallel process correctly also
parallel processing like when you're
doing your parallel compression that I
just explained before multimo most of my
effects in my mix multim mono I've said
this so many times rarely will I use
stereo effects in general when I'm
parallel doing anything in parallel I
want multim mono because I want it to
treat the two sides differently I don't
want it to treat the two sides the same
all right so I hope this makes sense to
you guys stick with these Concepts and
you won't ever worry about needing to
reference other songs in order to get
volume right I never do that I never
reference a full mix to make my mix
sound like it I'll reference oh I love
the way the snare sounds in this song
and I want mine to be similar so is it
giving me the same feeling from mine to
that and if it's not then you know I
I'll try to make it give me the same
feeling on a vocal on a whatever but the
point is I'll pick different songs for
different elements because it's it's not
really relevant once you have these
interaction of different instruments in
a different you know some are playing
these notes some are playing these notes
the key is different it it's the
Dynamics in this part are not the same
is this part once you realize that every
song is so different you can't look at a
curve and match a curve you can't look
at a reference mix and match the sound
to yours and have it mean anything this
just how I look at it it's never helped
me to do that ever it's never ever
helped me to do anything like that all
right so like that's why the ozone AI
like you know where it tells you with
the a master assistant or whatever like
this is the genra and this is the curve
it recommends I I think those things are
terrible I never ever use it and I don't
recommend anybody use it because it
sounds terrible it sounds terrible
because it's just taking into account
the loudest point it's it's doing it's
applying certain processing and then not
dealing with the processing after that
in other words like it hears what it
what it's it it does a detection and
says okay it needs this this this and
this but the second step and the third
step and the fourth step in the
processing don't need to be what it is
once they do so much of the first step
it's like re oddly disconnected the way
the it adds C things in other words if
you take off one step of that processing
it sounds terrible and if you leave it
on it sounds terrible so you're just
painting yourself in this corner where
no matter what you're doing by using
that you're not helping your music so
focus on only the clarity and focus on
the concepts of if you want to bring up
stuff that's quiet you do it using
parallel compression in multimo and
focus on stuff like side chain highpass
filter is essential on your mix bus to
use a full bandwidth processor full
bandwidth compression let's say and then
side chain highpass filter to get the
lowend to be out of the detector once
you get this stuff happening you'll be
able to get way way more volume all
right balance your mix the volume will
come naturally and don't be afraid to
use these tools all right you guys got
this do me a favor if you got it throw a
balanced comment write down in the
comment section it helps me more than
you know and also hit the like button if
you liked it subscribe if you haven't
already my name's Evan jaffy custom cut
Studios you guys seriously got this take
it easy
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