The 4 Fundamentals of a Good Mix (with Dan Worrall)
Summary
TLDRIn this insightful video, audio expert Dan Worrell distills the art of mixing into four fundamental elements: balance, EQ, dynamics, and ambience. He emphasizes that mastering these basics is crucial for a good mix, rather than relying on complex techniques. Worrell debunks common misconceptions about mixing, such as the importance of fader levels and the role of EQ in frequency balance. He also delves into the psychological aspects of how our brains process sound, advocating for a swift approach to mixing basics to lay a solid foundation for further enhancements.
Takeaways
- ποΈ The key to a good mix lies in mastering the four essential elements: balance, EQ, dynamics, and ambience.
- π Balance is crucial for a good mix, and it's not about matching peak levels but ensuring each element has the right prominence in the mix.
- π Peak meters are important for tracking to avoid clipping but are less relevant for overall mix balance, which should focus on perceived loudness.
- ποΈ Faders are vital for controlling the front-to-back depth of a mix, determining which elements are more prominent or receded.
- π Ear training is essential for recognizing different frequencies and the impact of EQ on the balance of the mix.
- π EQ is not just for fixing mistakes or creative tone shaping; it's also a fundamental tool for controlling frequency balance in a mix.
- π Frequency masking can affect the clarity of a mix, so mix engineers must ensure that important frequencies are not obscured by others.
- π Macrodynamics, controlled through volume automation, can correct performance dynamics and creatively adjust the balance for different song sections.
- π¨ Microdynamics, often managed with compression, are integral to modern music, making drums and other elements sound more explosive and present.
- π Ambience, including reverb and delay effects, is vital for creating a sense of space and depth in a mix, tricking the listener's brain into perceiving a natural environment.
- π§ Tweaky techniques and YouTuber tricks can enhance a good mix but should not be relied upon to achieve a good mix; mastering the fundamentals is the prerequisite.
Q & A
What are the four essential elements that every great mix has in common according to Dan Worrell?
-The four essential elements are balance, EQ, dynamics, and ambience. These elements are the fundamentals that, when addressed properly, can lead to a good mix.
Why do some people believe using too many buses can degrade the sound of their mixes?
-Some people might think that using too many buses can degrade the sound because they are worried about overcomplicating their mixes with too many YouTuber tricks and techniques, which can distract from the basic elements of a good mix.
What is the historical significance of Tom Dowd's invention of the linear fader in mixing consoles?
-Tom Dowd invented the linear fader, which revolutionized the way volume is controlled in mixing consoles. His initial implementation was inverted compared to today's standards, but it laid the groundwork for the modern fader design.
How does the concept of 'front to back depth' in a mix relate to the use of faders?
-The 'front to back depth' in a mix refers to the perceived spatial arrangement of the audio elements. Faders are used to control the balance of these elements, effectively determining their position in the mix from front to back.
Why is it a mistake to match peak levels for every channel in a mix?
-Matching peak levels for every channel can result in an unnatural mix where certain elements, like drums, may be inaudible and others, like distorted guitars, may overpower the mix. It's more important to consider the overall balance and perceived loudness rather than just peak levels.
What is the purpose of EQ in the context of mixing, and how does it relate to balance?
-EQ is used in mixing to control the balance of different frequency bands independently. It helps to ensure that each instrument's important frequencies are clear and not masked by other elements, contributing to the overall clarity and separation of the mix.
Can you explain the concept of macrodynamics and microdynamics in mixing?
-Macrodynamics refers to the overall loudness and softness in a mix, often manipulated through volume automation. Microdynamics refers to the subtle changes in volume within a sound, such as the prominence of transients, and is primarily controlled through compression.
How does compression impact the perception of dynamics in modern pop and rock music?
-Compression helps to control the microdynamics of a mix, making the transients more prominent and creating a sense of power and presence. It has become a key element in the sound of modern pop and rock music, enhancing the listening experience without being overtly noticeable.
What is the role of ambience in a mix, and why is it important?
-Ambience, including reverb and delay effects, provides a sense of space and depth to a mix. It helps to create the illusion of a performance space and enhances the listener's experience by making the mix sound more natural and immersive.
Why does our brain filter out the roominess of a live performance, and what does this imply for recording and mixing?
-Our brain picks up on the acoustic characteristics of a room and filters them out to allow us to hear the sound as it 'really is'. This implies that in recording and mixing, the goal is to recreate this natural perception, using techniques like reverb and EQ to simulate the acoustic environment and enhance the listener's experience.
What is the significance of early reflections in a mix, and how do they contribute to the perception of a lead vocal?
-Early reflections are the first set of sound reflections that reach the listener after the direct sound. They provide spatial cues that help the brain perceive the sound as being in a real space. In a mix, a lead vocal with just enough early reflections will sound connected to the rest of the mix, even though it's presented dry and upfront.
Outlines
ποΈ The Fundamentals of Mixing
Dan Worrell discusses the four essential elements of a great mix, emphasizing that advanced techniques are secondary to mastering the basics. He mentions his experience with audio and invites viewers to check out his channel for more in-depth content. The importance of balance, EQ, dynamics, and ambience in creating a good mix is highlighted, with a caution against overcomplicating the mixing process with too many buses or tricks.
π Achieving Balance in a Mix
This section delves into the concept of balance in mixing, explaining that it's not about matching peak levels but rather about ensuring each element of the mix has the appropriate presence. Dan refutes the reliance on peak meters and instead suggests using RMS or loudness meters for better balance. He advises against setting static balances and encourages adjusting them for different song sections to guide the listener's focus.
ποΈ The Role of EQ in Mixing
EQ is explored as a tool for controlling the balance of frequency bands within a mix. Dan explains that EQ helps prevent frequency masking, allowing each instrument to be heard clearly without interference from others. He discusses the importance of ensuring that the most important frequencies of each instrument are not masked by less important frequencies from other parts of the mix, which contributes to overall mix clarity.
π Dynamics in Music Mixing
Dan Worrell breaks down the concepts of macrodynamics and microdynamics, explaining how they affect the perceived loudness and clarity of a mix. He discusses the use of volume automation for macrodynamics to adjust the balance for different song sections and the use of compression for microdynamics to control the peak to average ratio, which is crucial for the impact of modern pop and rock music.
π The Importance of Ambience in a Mix
Ambience, including reverb and delay effects, is highlighted as a key element in creating a realistic and engaging mix. Dan explains how our brains naturally filter out room ambience, and the role of recording engineers is to recreate this effect to trick the listener's brain into perceiving the sound as if they were in the room. He touches on the challenges of recording in non-ideal rooms and the use of artificial reverb to simulate ambience.
π¨ Addressing the Basics for a Solid Mix
The final paragraph focuses on the importance of quickly addressing the basics of mixing to achieve a good foundation before applying more advanced techniques. Dan suggests that saturation and distortion could be considered as additional fundamentals but emphasizes that a clean mix is not necessarily a bad one. He advises mixers to focus on getting a good mix first, then using subtle tweaks to elevate it to greatness.
π Final Thoughts on Mixing
In conclusion, Dan Worrell thanks the viewers and the host, Kyle, for the opportunity to share his insights on mixing. He reiterates the importance of focusing on the fundamentals early in the mixing process to ensure a solid mix that can be built upon with additional techniques. The summary encourages viewers to practice and develop their ears for the subtleties of mixing.
Mindmap
Keywords
π‘Mix
π‘Balance
π‘EQ (Equalization)
π‘Macrodynamics
π‘Microdynamics
π‘Compression
π‘Ambience
π‘Frequency Masking
π‘Volume Automation
π‘Loudness Metering
π‘Ear Training
π‘Saturation and Distortion
Highlights
The secret to a good mix is simpler than commonly thought, focusing on four essential elements.
Dan Worrell emphasizes that advanced mixing techniques are less important than getting the basics right.
Mixing issues often stem from basic errors rather than the number of buses used.
Fundamentals of a good mix include balance, EQ, dynamics, and ambience.
Faders are crucial for determining the front-to-back depth of a mix.
Tom Dowd invented the linear fader, though his initial design was inverted.
A good balance does not mean matching peak levels but achieving a natural mix where no element is overpowering.
EQ is vital for controlling the balance of each frequency band in a mix.
Frequency masking occurs when louder elements at specific frequencies make quieter elements inaudible.
Macrodynamics and microdynamics are key concepts in mixing, manipulated through volume automation and compression.
Compression is essential in modern music for controlling microdynamics and enhancing the impact of elements like drums.
Ambience, including reverb and delay, is crucial for creating a natural mix that mimics the listener's spatial perception.
The human brain filters out room acoustics, which is why recordings need careful handling of reverb to match natural listening.
Recording in a good-sounding room or using artificial reverb are two approaches to dealing with room acoustics in a mix.
A completely dry vocal can sound disconnected; subtle reverb is needed to integrate it into the mix.
Tweaky YouTuber tricks can enhance a good mix but should not be the primary focus.
A good mix is an achievement in itself and serves as a solid foundation for further refinement.
Prioritizing the basics and making quick judgments leads to a better and more enjoyable mixing process.
Transcripts
the secret to a good mix is probably
much simpler than you think in this
video Dan Worrell will go through the
four essential elements that every great
mix has in common if you like audio
universities videos you'll definitely
want to check out Dan's Channel I'll
leave a link in the description below
[Music]
hi and first of all big thanks to Kyle
for inviting me to guest on his channel
my name is Dan and you might recognize
my voice from official products demos
and tutorials that I've made for various
different plugin developers over the
years
I also have my own channel where I
review plugins and talk about whatever
interests me which tends to be Advanced
Tweaky techniques like parallel
filtering or mid-side processing tricks
and I'm here to tell you now that most
of them won't help you get a good mix
my guess I should explain that
I'm going to use a question I got from a
viewer as a way into the topic
the question was about how buses differ
on Hardware consoles compared to a Daw
I answered accordingly then got a
follow-up question yes but how many
buses do you get
turns out they were worried that their
mixes sound bad because they're using
too many they have a template full of
YouTuber tricks and techniques and were
afraid that this was degrading the sound
I haven't heard any of their mixes but I
can guarantee the issue is not too many
buses in reality if a mix sounds bad
it's always because the basics are not
right those Tweaky YouTuber tricks and
techniques won't help you get a good mix
together and I'm including my own
they might when used appropriately help
to elevate a good mix to a great mix but
the good mix is a prerequisite and you
get to that by fixing the fundamentals
balance EQ Dynamics ambience
better
get the basics right for a better mix
easy let's have a little chat about each
of those
now back in my live sound days there was
a perennial question asked of Me by
punters when I was running front of
house
especially back when we were using huge
analog consoles with real pots instead
of touch screens
do you actually know what all those
knobs and buttons do
the question came up so often it was
kind of a joke among front of house
engineers and my answer would vary
depending on how stressed and harassed I
was feeling
after a difficult sound check they might
get a Curt yes that's my job
if I was feeling more relaxed it might
be having a clue mate but got away with
it so far
joking aside however there was one set
of controls that I think most people
understood
the faders are the volume controls right
push up the fader with a guitar
scribbled underneath and the guitar will
get louder
this seems so obvious and intuitive that
for most people it doesn't need
explaining it wasn't always so the first
consoles used rotary pots or switches to
control volume someone had to actually
invent the linear fader as we know it
today and that the one was Tom Dowd
but his implementation wasn't quite as
we know it it was inverted
pushing the fader up as we would call it
today would make the signal quieter not
louder
that might seem weird and
counter-intuitive to us but it's not as
mad as it initially seems consider the
precedent first organs traditionally use
drawbars to control the levels of
different partials and you pull these
out towards you to make them louder or
push them back in to make them quieter
the configuration has a particular
advantage in a broadcast context as
you're guaranteed never to accidentally
open up a channel by leaning your elbow
on the console
but the main reason Tom doubt configured
it this way around and the reason I'm
mentioning it now is because he felt
that was the more intuitive arrangement
pulling the fader towards you makes the
part louder which pulls that part
towards you in the mix
and conversely pushing the fader away
from you pushes that part further into
the background
of course it wasn't that much further
back in time when recordings would be
made using a single microphone or single
horn and the balance between Parts would
be determined by physically moving the
musicians forward or backwards to change
their relative distance from the
transducer
so perhaps it felt more natural to mimic
this relationship with the fader travel
back in those days
and perhaps we need to be reminded of
this relationship the faders determine
the front to back depth of your mix and
are the single most important factor
if you don't have a good balance you
don't have a good mix
so what do I mean by a good balance
first of all I definitely don't mean
getting all the meters to read the same
level
your Daw meters probably show Peak
levels those are important when you're
tracking to show you how close you are
to clipping but pretty much irrelevant
otherwise they tell you almost nothing
about how loud Your Parts sound if you
match Peak levels for every channel your
drums will be inaudible and the
distorted guitar will totally obliterate
everything else
[Music]
okay then you might respond I saw a
video about gain staging using Vu meters
so I'll just use those instead right
wrong first of all there's nothing magic
about Vu meters yes they average out
signal levels to some degree and they
represent loudness a bit better than
Peak meters but they still kind of suck
and won't help you with your balance
so RMS metering then is that the answer
well it's an improvement in the sense
that RMS levels do track perceived
loudness quite well if you set every
channel to have the same RMS levels they
should be reasonably well matched in
terms of loudness and sound roughly the
same volume
likewise if you use the modern loudness
meter and measured lufs instead of RMS
but this is not what I mean by a good
balance at least not necessarily perhaps
sometimes you'll need every element of a
mix to be equally present and
significant but usually you don't let's
remember that most people are not
musicians and certainly not audio
Engineers even if you're early and
you're producing an engineering Journey
your ears will likely be much better
trained and refined than the average
fan who I believe perceives music as
singing with some exciting stuff behind
it
perhaps in your case the focal point is
not a vocal but some other part instead
that's fine but that part should
probably be mixed firmly up front and
prominent just as they would probably be
up front and center stage for the live
show
if your listeners clear signposts as to
what they should be focusing on by
controlling the front to back depths of
your mix with the faders it's important
to note that as simple as it seems
setting a good balance is a skill that
needs to be learned and will improve
with practice
typical beginner mistakes include vocal
too quiet
remember that it's easier to reduce the
front to back depth of a mix with
compression than to do the opposite so
probably better to ER on the side of too
much lead vocal than the other way
around
drums too quiet I wonder if people are
misled by the peak meters into thinking
the drums are too loud and turn them
down despite what they're hearing
get those beats nice and loud and make
your listeners want to shake their
booties and finally bass part too loud
yes I know you want to hear a really
solid deep bass
but you don't achieve that by cranking
the bass part up loud rather by making
sure that nothing is competing with it
in those solid deep bass frequency
ranges
and that brings me to the second basic
building block of a good mix EQ
yes EQ can be used to mitigate or
correct mistakes made when recording
that's perfectly valid
EQ can also be used creatively to shape
the tone of a part to your liking
without regard to what is correct
also perfectly valid
but there's a much more fundamental and
vital application when it comes to
mixing which we can think of as simply
an extension of the First Fundamental
EQ lets us control the balance of each
different frequency band of the mix
independently
we can ensure that around 50 or 60 hertz
the balance is dominated by the kick
drum with the low fundamental of the
bass guitar sitting behind it
but we can reverse that up at 100 Hertz
and sit the base in front of the kick
for that frequency range and in doing so
we can stop those parts interfering with
one another and keep them both clearly
audible at the same time
there are two important points to grasp
to understand why we need to do this
first of all all the different elements
we're mixing together end up as one
stereo waveform all the separation
between Parts is an illusion created
inside the listener's head and second if
there's something loud happening at a
specific frequency you won't be able to
hear quieter elements at or near that
frequency this is known as frequency
masking so as mix Engineers we need to
make it easy for The Listener to decode
as the waveform and separate it into its
component parts if the most important
frequencies of each instrument are mixed
in front of the other elements while the
less important frequencies are tapped
behind the mix will have Clarity and
separate which will be easy to
distinguish each different part it'll be
a pleasure to listen to
but if the important frequencies of sum
or all the parts are masked by the less
important frequencies of other parts
your mix will be cluttered and Confused
your listener will strain to try to
separate the parts and make sense of
what they're hearing and might not
succeed at all I like to think of it as
weaving Parts together
for a part to be clearly audible it
needs to poke through the mix in at
least one place if your bass guitar part
for example is the loudest element at
say 100 Hertz
you'll be able to hear it clearly and it
will provide a solid low fundamental for
the mix
if that's the only place it pokes
through the mix however it'll seem very
warm and soft because all the aggressive
frequencies are higher than that
and if you want a part to seem big it
will probably need to poke through the
mix in more than one place
for an aggressive flea style slap bass
part you'll probably need to make sure
that the bass weaves back to the front
of the mix around for 2K or 2K5 region
for the kick drum you might want this to
dominate down at 50 hertz
but then thread it behind the other
elements for most of the mid-range
and bring it back to the front for the
clicky region around 405k
if our brain hears the Deep 50 hertz
thump clearly and the aggressive 5K
click clearly it will link those two and
perceive it as a huge powerful kick
occupying all the region in between
important to note that while I'm saying
those two frequencies are the important
ones for the kick that doesn't mean you
should totally remove everything else
doing that is likely to break the
illusion and just sound weird
rather use the EQ to gently push those
less important frequencies behind the
other elements but allow The Listener to
still get little glimpses of that thread
in the background so they understand
that it's all one big kick drum
and a quick disclaimer the numbers I
quote here are just examples while they
are fairly typical the important
frequencies might be different for your
mix I'm definitely not saying that 50
hertz and 5 kilohertz will always be the
most important kick frequencies
final point about EQ again it takes
practice
more specifically you need to train your
ears to recognize different frequencies
I've talked about that recently on my
own channel however so I won't repeat
myself
instead let's move on to Dynamics I want
to split them into two separate Concepts
macrodynamics and microdynamics
acrodynamics are what classical
musicians mean when they use the term
Dynamics the difference between loud and
quiet
a very Dynamic piece would be something
that has very quiet pianissimo sections
and also very loud fortissimo sections
in a mixed context the main way we
manipulate macrodynamics is through
volume automation
and there are two main reasons to do
this
first of all you might just need to
correct excessive Dynamics in the
performance especially something like a
vocal part
but second we can change the balance for
different parts of the mix for Creative
reasons
we can think of this as simply an
extension of the first principle once
again rather than setting one static
balance for the whole song we can
optimize the balance for each section
rather than just sign posting what's
important you can give your listeners a
guided tour
perhaps a part needs to be a little
louder the first time it comes in to
grab the listener's attention and
establish itself clearly what can then
sit back a little later on in the song
When some other part needs to be the
focus
thank you
foreign
of course a good arrangement will
address most of those issues in other
ways for example the first time that
part comes in you can simply ensure
there's nothing else going on that
competes
put some sympathetic volume automation
can greatly enhance a good arrangement
and can make a song much more engaging
and easy to listen to especially for the
first time
alright so what about microdynamics
this is what mix or mastering Engineers
might be referring to when discussing
Dynamics depending on the context
if a mastering engineer refers to a mix
as very dynamic they might mean it has a
high peak to average ratio that the
transients are very prominent
acoustic drums naturally have a very
high peak to average ratio
so our natural and minimally processed
recording of a drum kit will tend to be
very dynamic in microdynamic terms
but if the drummer pounds away with the
same energy for the whole song that
recording could simultaneously have very
little in the way of macrodynamics
anyway the main tool we use to control
microdynamics is compression and this is
hugely important to modern pop and rock
music
obviously Distortion and distorted
guitar amps in particular had a huge
impact on modern music my now musical
landscape would be radically different
without it
I would say that compression and
compressed drums in particular have had
an equally large impact
but unlike Distortion which is pretty
easy to hear compression is subliminal
most people don't notice it consciously
and this is probably part of the reason
it's so effective your listener doesn't
know why they just know those drummed
sound like they're exploding from the
speakers and they like it
[Applause]
[Music]
[Applause]
[Music]
thank you
[Music]
so learning to use compression is
another huge part of learning to mix
modern music styles
and learning to hear a compression
consciously is a big part of that
but there's a recent video on my own
channel in which I talk about ear
training strategies both for EQ and
compression
and there's a load of resources on this
channel in my own covering specific
compression techniques
I'm trying to keep this video more
conceptual and philosophical so I'll
leave compression there and move on to
my final fundamental
ambience
by which I mean all types of Reverb And
Delay effects but especially the
subliminal ones that you don't notice
unless they're missing
this is the first of my basic principles
that isn't just really some extension of
balance
and it's also going to require the
biggest insight into the workings of our
own brains
imagine this scenario
you make a video recording of a musical
performance
it turns out well except the sound from
the camera mic is much too roomy and
ambient
of course it is right for professional
results you're going to need a separate
multi-track recording and mix down which
could then replace the camera audio in
post
but why is that
the camera mic was right near your head
while you were recording
it didn't sound too roomy to you at the
time it sounded great
why is the microphone picking up so much
of the room when your ears didn't
the answer is kind of shocking and
surprising
your ears do pick up all that excess
roominess just like the microphone did
but your brain filters it out before you
get to actually hear it
as soon as you enter a room your brain
starts to pick up subtle acoustic Clues
and figures out what that room's Reverb
characteristics are
and it then subtracts those Reverb
characteristics from whatever your ears
pick up so you can as far as possible
hear the sound as it really is
the process is kind of similar to the
way we see color
we don't just perceive the raw data from
our eyes our brain first makes a
judgment about the ambient light then
corrects for it and only then decides
what color it's going to show you
that's why under the right circumstances
some people can see address as blue and
black when it's actually golden White
or was it the other way around
anyway this Cuts right to the heart of
why we need recording engineers and
Studios at all we're not trying to
accurately capture the sound in the room
your camera mic probably did that quite
well in fact
we're trying to trick The Listener into
hearing the sound as they would have if
they were in the room
there are basically two different ways
to deal with the issue
first of all we can record in glorious
sounding rooms
and that doesn't necessarily mean long
and Lush sounding Reverb Tales
because in fact the smaller the room the
less the effect of the Acoustics is
Reverb as we would normally think of it
and the more it becomes a type of EQ
I'm planning at some point a video for
my own channel called what's the
difference between Reverb and EQ and the
answer to that question isn't as simple
as you might expect
meanwhile though consider the Acoustics
of an old-school telephone booth
you're probably imagining boxy
resonances rather than any obvious
Reverb Tale
now consider the body of an acoustic
guitar
it's a trapped volume of air just like a
room only smaller
but its effect on the sound of the
guitar is much more like that of an EQ
than that of a Reverb so a great
sounding room could mean one that
doesn't skew the frequency response too
much but keeps the sound relatively flat
or shapes it in gently flattering ways
this approach is problematic in a couple
of different ways
few of us have easy access to Glorious
sounding rooms for a start
I'm guessing the majority of you are
working in some kind of home or project
Studio
and even fewer of us have access to a
range of different glorious sounding
rooms
because the Acoustics that are
flattering for a grand piano might not
be so ideal for rock drums
the other problem with this approach is
recording the right amount of room
the most obvious way to control the
ratio between direct and reflected sound
is to move the microphone closer to or
further from the source
but it can be very difficult to gauge
this correctly on the day especially if
you're tracking up parts one by one and
you don't have the full context yet
so the obvious solution there is to use
multiple microphones
Place one close to the source to pick up
predominantly direct sound then Place
ambient microphones to pick up
predominantly reflected sound and blend
them to taste later
those of us that lack access to Glorious
rooms are forced to take a different
approach we use a close mic again to
pick up mostly direct signal and then we
use some kind of artificial Reverb
instead of the ambient mics
this is a very powerful and flexible
approach
but in what is becoming a theme in this
video it also requires some ear training
you need to become more consciously
aware of Reverb especially the very
short small room kind so that you can
recognize when you need to add more of
it to your mix
it's a strange contradiction that while
having Reverb burnt into a recording
kind of breaks the brain's ability to
remove that Reverb as it would if you
were in the room having no Reflections
at all in a recording usually doesn't
sound good either
with none of the usual spatial cues the
sound seems to float in a void it seems
small and lost
foreign
[Music]
thank you
[Music]
foreign
pop music the lead vocal is often
presented very dry and upfront with no
obvious Reverb but it's never actually
dry a completely dry vocal will sound
like it's stuck on top and disconnected
from the rest of the mix
in fact there will be just enough early
Reflections to satisfy your brain that
yes indeed that vocal is right up in
your face unlike everything else it
takes practice and ear training before
you can nail that every time
now of course there are other
considerations when mixing as well as
those four fundamentals I listed if I
were to add a fifth it would probably be
saturation and distortion
but while it is certainly possible for a
mix to be too clean if that's the only
problem with the mix it's probably
already a good mix just maybe not great
yet
but that's okay a good mix is already a
great achievement and a great foundation
on which to build a great mix this is
the stage at which the Tweaky YouTuber
tricks might start to make a positive
difference
and my final tip get to that stage as
fast as you can
take care of the basics first thing in
your mix work quickly and don't
overthink your moves they're all
provisional anyway at that stage because
you don't have the context of a good mix
in which to judge them once you have a
good mix and the basics are in place you
can then make good judgments about the
subtle tweaks and embellishments that
might take it up another level
getting to that stage quickly is not
only more fun but will also invariably
result in a better mix
okay that's all thanks for watching and
thanks again to Kyle for having me
[Music]
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Never mix a weak bass again!
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