19 Mixing Tips I Wish I Knew 20 Years Ago

Summary

This comprehensive video offers 19 invaluable mixing tips that every music producer should know. The presenter shares hard-earned insights gained over decades of experience, including listening to great mixes, understanding frequencies, using the mute button effectively, balancing levels and panning, and embracing subtractive EQ. Other key tips cover compression techniques, mixing buses first, getting the source tracks right, mixing quickly and often, working in context, saving vocals for last, bypassing plugins regularly, and seeking feedback. With a focus on practical advice and real-world examples, this video promises to be a game-changer for anyone looking to elevate their mixing skills.

Takeaways

• 😎 Listen to great reference mixes regularly to train your ears and identify issues in your own mixes.
• 🎚 Study and understand different frequency ranges to improve your mixing skills.
• 🔇 Use mute buttons to isolate and identify problem areas in your mix.
• 🐓 Pay attention to physical reactions like goosebumps, as they can indicate an emotional connection with the music.
• 🧱 Start with a static mix, focusing on levels and panning before applying plugins.
• ⚖️ Aim for balance in levels, stereo field, and frequency content.
• 🔊 Turn up your speakers instead of clipping the master bus when mixing.
• 🚫 Know when to leave things alone and not over-process tracks that sound fine.
• ➖ Use subtractive EQ (cuts) more than additive EQ (boosts) for a cleaner mix.
• �windchime EQ your reverbs and delays to avoid muddiness.
• 👍 Don't be afraid to use compression aggressively, but don't compress everything.
• 🚌 Mix the buses first, then refine individual tracks for a more efficient workflow.
• 🥚 Start with great recordings to ensure a great mix.
• ⏩ Mix quickly and often to gain more experience and improve faster.
• 🌎 Mix in context, avoiding excessive solo'd track listening.
• 📣 Save the vocal processing for the end after getting the instrumental mix right.
• 🔘 Bypass plugins frequently to evaluate if they are improving or degrading the mix.
• 👂 Get feedback from others to identify issues you may have become deaf to.

Q & A

What is the most crucial piece of advice given in the video?

The most crucial advice given is to regularly listen to great-sounding mixes in your studio's mix position. This allows you to understand what a good mix sounds like and identify issues in your own mixes more easily.

Why is it important to study frequencies?

Studying frequencies and being able to recognize them is crucial because it helps you understand the differences between various frequency ranges, which is essential for tasks like separating the kick drum and bass guitar or achieving a balanced mix.

How can the mute button help in identifying mixing problems?

Using the mute button allows you to isolate specific elements and determine if they are the source of a particular issue. If muting a track resolves the problem, you've identified the culprit and can work on fixing it.

What does getting 'goosebumps' while mixing signify?

Getting goosebumps while mixing signifies an emotional connection with the music, which is the ultimate goal. It means you've achieved something special and should be careful not to lose that feeling by over-mixing.

What is the 'static mix' technique, and why is it important?

The 'static mix' technique involves getting the levels and panning right before applying any plugins. It's important because many mixing issues can be resolved by proper level and panning adjustments, without needing plugins.

How can aiming for balance improve your mixes?

Aiming for balance in terms of levels, stereo field, and frequencies can greatly improve your mixes. A balanced mix sounds cohesive and avoids issues like imbalances or frequency build-ups.

Why is it recommended to turn up your speakers instead of turning up individual tracks?

Turning up your speakers instead of individual tracks avoids clipping the master bus. It's a form of gain staging that allows you to hear the mix at a desirable volume without distortion.

Why is subtractive EQ preferred over additive EQ?

Subtractive EQ (cutting frequencies) is preferred because it removes unwanted sounds from the mix, rather than adding more sound through boosts. It helps sculpt the mix and avoids building up too many frequencies.

Why is it important to EQ reverbs and delays?

EQing reverbs and delays is important because they can add unwanted low-end rumble or muddiness to the mix. By filtering out unnecessary low frequencies, you can prevent these effects from causing issues.

What is the recommended approach for mixing vocals?

The recommended approach is to save the vocal for the end. First, focus on getting a great instrumental mix, then add the vocal on top and process it as needed. This helps prevent the vocal from influencing the overall mix decisions.

Outlines

00:00

🎧 The Importance of Listening to Great Mixes

This paragraph emphasizes the importance of regularly listening to great-sounding albums in the mixing position to develop a reference point for a well-balanced mix. It compares mixing without this practice to playing darts blindfolded, making it nearly impossible to identify and fix issues in one's own mixes. The key takeaway is that familiarizing oneself with high-quality mixes is crucial for spotting problems and achieving professional-level results.

05:00

🎚️ Understanding Audio Frequencies

The paragraph stresses the significance of having a comprehensive understanding of different audio frequencies (e.g., 50Hz, 100Hz, 250Hz, etc.). It likens mixing without frequency knowledge to trying to survive in a foreign country without knowing the language, emphasizing that one cannot thrive without mastering this essential aspect. Distinguishing frequencies like 50Hz and 100Hz is highlighted as a game-changer for mixing elements like kick drums and bass guitars.

10:01

🔇 Using the Mute Button to Identify Problems

This paragraph advocates for using the mute button as a diagnostic tool to pinpoint the exact source of issues in a mix. It suggests muting suspected problematic elements and observing whether the issue persists or disappears, effectively confirming or ruling out the culprit. This technique is presented as a time-saving method for accurately identifying and addressing real problems rather than wasting efforts on non-issues.

15:02

🐓 Embracing Emotional Responses (Goosebumps)

The paragraph encourages mixers to pay attention to physical and emotional responses, such as goosebumps, when listening to their mixes. These involuntary reactions indicate a strong emotional connection with the music, which is the ultimate goal. The author suggests acknowledging and preserving these moments by avoiding over-mixing, as they signify that something special has been achieved.

20:03

🔊 The Importance of a Static Mix

This paragraph emphasizes the significance of performing a static mix before applying any plugins. A static mix involves adjusting levels and panning to achieve the best possible sound without any processing. The author strongly recommends mastering this step, as it lays the foundation for a great mix, and failing to do so often leads to excessive reliance on plugins to solve problems that could have been addressed through proper level balancing and panning.

Keywords

💡Mixing

Mixing refers to the process of combining and balancing different audio tracks or elements (such as vocals, instruments, and effects) to create a cohesive and polished final audio recording. In the video, mixing is presented as a crucial skill that requires experience, problem-solving abilities, and a deep understanding of frequencies, levels, and effects. The speaker provides numerous tips to improve mixing techniques, such as listening to great mixes as a reference, using subtractive EQ, and mixing the bus tracks first.

💡Frequencies

Frequencies refer to the different pitch ranges within the audible spectrum, typically measured in Hertz (Hz). Understanding and identifying specific frequency ranges is essential for effective mixing, as it helps isolate and shape different elements of the audio, such as the low-end of a kick drum or the high frequencies of vocals. The speaker emphasizes the importance of being familiar with common frequency ranges (e.g., 50Hz, 100Hz, 250Hz, 500Hz, 1kHz, 3kHz, 5kHz, 8kHz) and their corresponding sounds, as this knowledge aids in identifying and addressing issues within a mix.

💡Reference Mixes

Reference mixes are professionally mixed recordings that serve as a benchmark or standard for comparison when mixing one's own tracks. The speaker strongly recommends regularly listening to great-sounding mixes in the mix position (i.e., the same listening environment as when mixing) to develop an understanding of what a well-balanced and polished mix should sound like. This practice helps identify and address problems in one's own mixes more effectively, as it provides a reference point for what a good mix should sound like.

💡Static Mix

A static mix refers to the process of balancing levels and panning within a mix without the use of any plugins or effects. The speaker emphasizes the importance of mastering the static mix before moving on to applying plugins, as it allows for identifying and resolving fundamental issues with levels and stereo balance. By achieving a satisfactory static mix, the need for extensive use of plugins may be reduced, leading to a more efficient and focused mixing process.

💡Balance

Balance, in the context of mixing, refers to the harmonious distribution and equilibrium of various audio elements within a mix. The speaker highlights three types of balance: level balance (ensuring appropriate volume levels for each track), stereo balance (achieving a balanced distribution of sounds between the left and right channels), and frequency balance (maintaining a proper representation of different frequency ranges). Achieving balance across these aspects is crucial for creating a cohesive and well-rounded mix.

💡Subtractive EQ

Subtractive EQ (equalization) is the practice of removing or cutting unwanted frequencies from an audio signal rather than boosting desired frequencies. The speaker advocates for a subtractive EQ approach, using more cuts than boosts in the EQ curve. This method is presented as an efficient way to sculpt and refine the sound by removing problematic frequencies, rather than adding more sound through boosts, which can lead to a cluttered and unbalanced mix.

💡Compression

Compression is an audio processing technique that reduces the dynamic range of an audio signal, making the louder parts quieter and the quieter parts louder. The speaker encourages the use of compression, as it can be a powerful tool for controlling dynamics and shaping the overall sound of a mix. However, he also cautions against overcompressing or applying compression to every track, advocating for a judicious and intentional use of compression where it is needed.

💡Bus Mixing

Bus mixing, or mixing buses, refers to the practice of grouping related audio tracks (e.g., drums, bass, guitars, vocals) into submixes or buses, which can then be processed as a single unit. The speaker emphasizes the efficiency and effectiveness of this approach, as it allows for applying effects and processing to entire groups of tracks simultaneously, rather than individually. This method is presented as a way to streamline the mixing process and achieve a more cohesive sound.

💡Context

In the context of mixing, context refers to the practice of listening to and adjusting individual tracks within the full mix, rather than in isolation. The speaker cautions against the common mistake of soloing tracks and processing them individually, as this can lead to tracks sounding good on their own but not fitting well within the overall mix. Instead, he recommends making adjustments while listening to the track in the context of the entire mix, ensuring that changes made to one element complement and integrate with the rest of the elements.

💡Feedback

Feedback, in this context, refers to seeking external input and critique on one's mixes from others. The speaker acknowledges that working in isolation can lead to becoming 'deaf' to certain problems or issues within a mix, and suggests that getting feedback from others can be invaluable in identifying areas for improvement. While it may seem daunting, the speaker encourages stepping out of one's comfort zone and being open to feedback, as it can significantly enhance the quality of the final mix.

Highlights

Listen to great music in the mix position regularly to understand what a good mix sounds like and spot problems in your own mixes.

Study and understand different frequencies to mix effectively, as not knowing them is like trying to survive in a foreign country without knowing the language.

Use the mute button to identify and confirm the source of problems in your mix.

Pay attention to physical responses like goosebumps, as they indicate an emotional connection with the music, which is the goal.

Do a static mix first by adjusting levels and panning before using any plugins, as many problems can be solved this way.

Aim for balance in levels, stereo field, and frequencies when mixing.

Turn up your speakers instead of over-compressing to avoid clipping when the mix gets too loud.

Know when to leave things alone and not overprocess tracks that don't need any processing.

Use subtractive EQ by cutting frequencies instead of boosting to sculpt the sound.

EQ your reverbs and delays to avoid adding unwanted low-end rumble and muddiness.

Don't be afraid to use compression aggressively when it makes sense, but also don't compress everything.

Mix the buses first instead of individual tracks for efficiency and better results.

Record great tracks from the start, as you can't fully fix a bad recording in the mix.

Mix fast and often to gain experience and improve more quickly.

Mix in context instead of soloing tracks, as a track's sound in solo has little bearing on how it will sound in the mix.

Save the vocal for the end and mix the instrumental first, then add the vocal on top.

Bypass plugins often to ensure you're actually improving the sound and not making it worse.

Get feedback from others, as they can spot obvious problems you may have become deaf to while working in isolation.

Transcripts

19 mixing tips I wish I knew 20 years

ago sadly there was no YouTube 20 years

ago so I had to learn all of these the

hard way you don't have to so these are

19 of my aha moments that I've had over

the last couple of Decades of mixing and

I've squished them down into one video

just for you do yourself a favor pick

one and go apply it any any one of these

will be a game changer for you in your

mixes so just sit back relax enjoy as we

go through these 19 mixing tips now

while I firmly believe that all 19 of

these will be game changers for you this

first one is kind of the game changer of

them all here's tip number one listen to

great music in the mix position

regularly so many people fall into this

trap they only listen to their mixes on

their mixing system can you see how

that's a trap if you don't regularly

listen to Great sounding albums sitting

in your studio in the mix position

between your speakers how can you ever

hope to get a great mix of your own

tracks it's like playing darts in the

dark blindfolded and you spin around

three times you have almost zero chance

of hitting the Target because you don't

know what you're listening for so you

might I hear this all the time Joe my

mixes sound great in my studio but they

don't sound great anywhere else they

don't sound as good as my favorite

albums on Spotify or apple music it's

because you don't know what your

favorite albums on Spotify or apple

music sound like sitting here in your

mix position you only know your music so

you have completely fooled yourself and

you have no tether back to reality make

it a priority to regularly sit and

listen and really absorb what a great

sounding mix sounds like and you'll be

able to spot the problems in your mixes

so much easier it's like Bankers they

know a $100 bill so well that if you

were to slide a counterfeit across their

desk they can immediately spot it they

don't spend spend all their time

studying the counterfeits they know the

real thing really well so that when a

fake thing comes across they can easily

point it out and fix the problem or get

rid of it as the case may be that's what

you need when it comes to mixing you

need to be able to sit and listen and

spot all the problems in your mixes so

you can fix them the only way to know if

they're problems is if you're intimately

familiar with what a good mix sounds

like sitting right here in your studio

tip number two study your frequencies

when I say things like 50 htz 100 HZ 250

500 1K 3K 5K 8K if I say those

frequencies do you immediately get a

sense of recognition in your brain can

you almost hear those different

frequencies if I mention them if so

great you're well on your way to Great

sounding mixes if not then that's a

place where you need to spend some time

trying to mix a song Without Really

knowing the frequencies is like trying

to survive in another country without

knowing the language you're just not

going to get very far you may stumble

your way into a meal or a restroom but

you're not going to thrive until you can

speak the language knowing the

difference between 50 and 100 htz for

example is will will be a GameChanger

for you when it comes to mixing things

like kick drum and bass guitar hint 50

to 100 and 100 to 200 that's a two

octave range there is a huge difference

between 50 and 100 and 200 think about

singing two octaves if I sing here and

then I have to sing here that's a big

difference that's two octaves just that

little quote little range on your EQ

makes all the difference if you confuse

50 with 100 you're going to have a hard

time getting your low end right in your

mixes tip number three use the mute

button to identify your problems mixing

for me is really all about identifying

problems and removing them if I remove

enough problems the mix is finished one

of the best ways to make sure you've

identified the problem is to make an

educated guess of hm I think this is the

problem and then to mute that thing to

see if the problem actually goes away if

you hear this muddy sound and you think

it's the guitar If you mute the guitar

and the muddy sound goes away you've now

confirmed where the source of the

problem is you can now go fix it but if

you mute the guitar and the muddiness is

still there then you know the guitar If

is not the problem or at least it isn't

the only part of the problem we got to

do some more digging this will save you

countless hours of fixing problems that

aren't really problems and will help you

identify the exact problem so you can

then go in and fix it tip number four

mind the Goosebumps if you've been on a

live stream with me you've seen this

ragged old sign pretty regularly this is

something I hold up when I'm doing like

a mixed critique live stream when I hear

something that gives me physical

Goosebumps instead of like pausing it

and turning on my microphone and saying

hey I just got goosebumps I'll hold this

up to let people know know hey that gave

me goosebumps why why would should you

care about something as silly as

Goosebumps or Goose pimples as some

people call them because the whole point

of music is to connect with someone on

an emotional level to move them in some

way and a lot of times that movement for

me at least means I get goosebumps when

I hear something really amazing I get

goosebumps now for some people maybe

that's instead of goose Goosebumps it

makes you tear up or it makes you move

your body and dance along to the music

when you have a physical response to a

piece of art that's noteworthy to the

point where I acknowledge it my holding

up a dumb sign to remind myself and

those who are watching that if we've

gotten to a point in this song where it

is giving me some sort of a an emotional

response that I can't control then we're

getting close so don't go mix and mess

it up and get to the point where it no

longer does this we've done something

special let's not mess it up by over

mixing so when you feel an emotional

connection with what you're mixing

whether it's it makes you want to dance

makes you want to cry makes you have

Goosebumps or any other thing that you

can't really control make note of that

and don't lose that as you continue to

finish up the mix up next do a static

mix before everything else people get

plug-in crazy they want to go and use

their plugins but you don't need plugins

until you've done the static mix meaning

until you've gotten the levels and the

panning figured out so many people try

to solve a level problem with a EQ or a

compressor when the actual solution was

to just get the levels right if you can

Embrace this of all the tips I've given

you in this video so far and of all the

ones I'm about to give you if you do

this one I promise you your mixes will

be night and day different the problem

is people say okay yeah sure I agree

with you and then they go start a mix

and when they hear the first whiff of a

problem they go grab their favorite

plugins and start trying to solve things

just have some restraint and see how

good you can make this song Sound with

zero plugins by just adjusting the

levels and the panning and you can do

this motion if it makes you feel better

how great can you make it sound I've had

mixes where I forget that I'm doing the

static mix and I get so immersed in the

song by just massaging those levels and

panning to where I feel like this song

Moves me and I haven't even reached for

a plug-in imagine starting your plug-in

selection from that standpoint versus W

this is a hot mess I better start

throwing some plugins on here to make it

sound better doesn't work as well by the

way the static mix is so important it's

step two of my five-step mixing process

I dedicate an entire step to just the

static mix if you want to learn my

entire mixing process I've got a free

guide that you can have my gift to you

just go to fstep mix.com in your email

and I will send it to you right away tip

number six aim for balance if you want

to simplify mixing down to a single word

that word is balance I want the levels

balanced like I just mentioned I want

things balanced left to right if

everything's in the middle it feels kind

of boring if there's a bunch of stuff on

the left and not the right it feels

lopsided I want the left to right stereo

field pretty balanced but I also want

the frequencies balanced I don't want

there to be a whole crapload of low mids

and then nothing up here in the high

mids and vice versa I want to have a

proper amount of each of these

ingredients not necessarily the same but

I want everything to be balanced so when

you're thinking about your mix if you're

stuck as to what to do next listen to

the three types of balance and see if

anything is out of balance are there

levels that are out of balance is there

a stereo imbalance that you can go in

and fix or are there frequency

imbalances that's where you're going to

spend a lot of your time that you can go

in and fix tip number seven turn up your

speakers when you first get started with

mixing you quick quickly learn that as

you start moving all the faders around

that Master bus on the far right hand

side starts to clip so what do you do

well you turn down all your tracks and

then it stops clipping and that's great

but then it's like well it's not as loud

and doesn't sound as fun as before so

you slowly start turning them all back

up and what happens it Clips again this

can be a maddening cycle but there's

such an easy fix yes you need to turn

the tracks down so that your mix bus

doesn't clip but if doing so everything

feels a little quiet you've got the

simplest solution ever just use these

fingers and turn that volume knob up to

get your speakers up loud enough this is

another form of gain staging you're

saying things are too quiet if I turn

them up in the mix it starts to clip but

I'd like to turn them up so I can hear

them well use the volume knob now I'm

not saying go crazy loud so you hurt

your ears I'm just saying to avoid

clipping instead of trying to play the

game of how can I use compression and

limiting to solve this clipping problem

it's much easier just turn things down

and then turn up your speakers easy

peasy tip number eight know when to

leave things alone there's something in

human nature that says man I got to put

a plugin on every track probably three

to four plugins on every you don't need

to put three to four plugins on every

track there are plenty of tracks in the

session that sound fine and then you go

and mess them up because you feel this

need to do something what will make you

a great mix engineer is knowing when to

do something when to solve problems that

are actual problems but also when to

leave it the heck alone here's another

way of putting it if the thing you're

looking at is not causing any sort of

problem that you can identify it's

probably fine leave it alone number nine

use subtractive EQ here is an EQ from

one of my mixes this is a very typical

EQ curve for me it has one two three

four cuts and one boost that 4:1 ratio

of cuts to boost is really typical for

me why because this is kind of My

Philosophy towards mixing I already have

a lot of sound I don't want to do a

bunch of EQ boosts to add more sound

into the equation I would rather take

some of the sounds that I don't like and

take them away using subtractive EQ

using EQ Cuts rather than using EQ

boosts it's a mindset thing I'd much

rather sculpt from a big hunk of marble

and take things away

then start with a blob of clay and keep

adding more Clay on this works better

for me and it helps me mix really

quickly which I love tip number 10 EQ

your reverbs and delays even if let's

say your electric guitar is eqed and

sounds just right in the mix and then

you choose to send it off to some sort

of a Reverb or a delay that Reverb or

delay could create low-end Rumble and

muddiness that will plague your mixes

for example here is an EQ or an uneq

Reverb from one of my

[Music]

mixes all of that low end there sounds

cool by itself but remember this is just

the Reverb all that low end is already

in the mix I don't need my Reverb coming

in adding more low end I can tell you so

many times people are fighting muddiness

in their mixes and it's because the

reverbs and the delays over there on the

side are causing it so what do I do on

my Reverb And Delay sends I do something

like this I have just a big honk in

highpass filter rolling off everything

below 200 HZ and it gets rid of the

problem tip number 11 don't be afraid to

use compression compression is a

wonderful tool of course you can overdo

it but a lot of people tend to underdo

it they're afraid of overc compressing

that they leave it too subtle if you

ever see those tutorial videos where

they say you hear that compression you

almost can't even hear that it's there

if so then why do it to begin with as

you can see in this mix I've got

compression going on on several tracks

you can see the gain reduction happening

I like compression I like to use it

aggressively when it makes sense don't

be afraid to do the same tip number 12

don't compress everything so yes use

compression but no don't put a

compressor on every channel you can look

over this mix and you will not see

compressors everywhere I have

compressors in a few specific places

that Mak sense but I'm not putting an EQ

in APR ressor on every single channel in

the mix it doesn't make sense more on

that later tip number 13 mix the buses

first so kind of a preamble to that

everything I do in mixing uses buses I

think buses are the most amazing tool in

Your Arsenal or at least one of them so

every mix that I do all the tracks run

through one of these buses drums bass

electrics Acoustics Keys vocals or

background vocals and I may have a

separate one depending on the song but

those are typical of a standard mix for

me that means whether the song has 20

tracks or 200 tracks I'm only thinking

in terms really of these seven or eight

buses the drums are one sound one

component of my mix and the cool thing

is buses allow you to be way more

efficient which means you can mix a lot

faster and it'll sound better if I need

to EQ my drum kit a cut at 400 HZ for

example that's a standard move I could

do either put an EQ on every drum track

with that 400 HZ cut or I could put one

EQ on my drum bus and affect the whole

thing it gets even more fun when it

comes to compression because compression

on a drum bus sounds way cooler than

compression on individual drum tracks

this is how I'm able to mix songs in as

little as 30 minutes because I'm working

primarily from the buses not the whole

bunch of individual Tracks number 14 get

it right at the source if you want a

great mix you got to start with great

tracks if your tracks sound like hot

garbage your mix is going to sound like

slightly polished hot garbage it's

always better to go back and record good

tracks you can't do it perfectly it's

like a perfect standard that we never

achieve but if you focus on making the

raw track sound as good as possible your

mixes will improve tenfold over just

letting anything go in the recording

session and choosing to fix it later in

the mix number 15 mix fast and often if

you were to give me the choice between

someone who has mixed one song and they

took an entire year to do it versus

someone who has mixed 12 Songs in a

one-year period I'm going with the

second one every time why because they

have 12 times the experience of the

first one mixing is about solving

problems if it takes you 12 months to

solve the problem that doesn't make you

any better at solving those problems and

at identifying the new problems that

come up with every mix every mix has its

own set of challenges you've got to get

in the experience of learning learning

how to identify those problems and

challenges and then fixing them and

every mix is different airgo I said airG

go you need to put in the Reps you need

a lot of practice in making all of those

mixing decisions that means you need to

mix quickly and Mix A Lot why quickly

because your 12th mix will be way better

than your first so you might as well get

there faster number 16 mix in context my

very first mix went something like this

I sat down and I remember I soloed the

kick drum and then I spent probably 20

minutes with EQ and compression and

whatever else making it sound as good as

possible then I went to the next track

which was a snare drum and I just soloed

the snare and did the same thing then I

went to the next one one of the toms

then I did it with the other Tom then I

did it with the overheads and I did that

went that same process through every

track in the session listening to it in

Solo making it sound amazing and then

moving on to the next one because I

erroneously thought that if I make each

one sound good by itself it'll all sound

good together I was very sad when I find

finally UNS soloed the last track and

listened and nothing sounded good it

just sounded different than the original

raw tracks but certainly not any better

what a track sounds like by itself has

almost zero bearing on what it sounds

like in the mix there are a lot of

factors that play more than we can go to

in this video but just know the less you

spend the less time you spend in Solo

the better your mixes will be so for

example if I'm working on a kick drum

rather than just soloing the kick and

list listening to it exclusively I will

try to listen to the kick in context of

the entire drum kit so using my drum bus

I might listen to the entire drum bus

and then make adjustments to the kick

drum EQ and compressor itself doesn't

mean you can't use solo but every time I

press Solo in a mix it's like there's a

little timer on my shoulder that says

get out of solo get out of solo get out

of solo because if I spend too much time

there I realize I've lost all context

and I'm kind of fighting myself at that

point number 17 save the vocal until the

end this is this is a bit of a recent

development for me but I realized I just

don't like the sound of a raw vocal no

matter how well it's been recorded I

typically just mute it and focus on

getting the instrumental sounding great

get a great mix of that then I drop the

vocal on top it just seems to work

better because I end up eqing the vocal

quite a bit compressing the vocal quite

a bit um so while I'm working on things

like my static mix and getting my

balances right I know the vocal is going

to go right in the middle so I'll just

save that for later and I can just focus

on the instrumental now and then add the

vocal later that seems to work out well

for me number 18 bypass often so every

plug-in will have some sort of way to

bypass itself so I can hear the track

with and without this EQ for example I

do this regularly so I can hear am I

actually making it better or am I making

it worse the only way to make this work

is if the before and after have roughly

similar volumes if you turn the plug-in

on and it's adding a bunch of volume

your ear is going to think that that

sounds better so what you want to do is

typically use a makeup gain of some sort

to match the before and after volume so

that when you bypass it you can really

get a good comparison of if you're

helping or hurting this will keep you

from going down these long 20 30 minute

rabbit Trails of doing a bunch of stuff

with plugins only to realize that you've

only made things worse and number 19 get

feedback from others of all 19 tips in

this video this one might be the

scariest especially if you work in

isolation you've been working on this

music your heart is in it and you've

grown deaf to maybe some obvious

problems in the music the only real

solution is to invite someone else to

listen to it and give you feedback while

that can seem scary it can be insanely

helpful I can tell you from experience

when I involve other people in my

creative work whether it's music or

anything else that I do creatively it's

always better so step out of your

comfort zone put yourself out there and

be open to feedback it'll make your

music better all right we made made it

to the Finish Line those are 19 of my

favorite mixing tips which one are you

going to try tonight leave a comment

below and let the rest of us know thanks

for watching be sure to subscribe and

I'll see you in the next one