Professional Documents
Culture Documents
The Mix Engineers Ultimate Reference Guide Second Edition
The Mix Engineers Ultimate Reference Guide Second Edition
Thanks for downloading the Mix Engineer’s Ultimate Reference Guide!
When I was first learning how to mix, I would often have questions AS I was mixing. I would have
to stop mid-mix to flip through books, youtube videos, and cheat sheets to find the answer. The
problem was there were so many resources to explore, it was never a quick and easy detour. By
the time I DID find what I was looking for, I had to get back into the rhythm of mixing again. The
constant start, stop, start, stop was a real friggin’ headache!
My hope is that you keep this guide close and use it regularly as your go-to resource for
answering those annoying in-the-moment questions QUICKLY, so you can get right back to
what’s really important… the mix!
On the next few pages, you’ll find an abbreviated and highly condensed compilation of
knowledge from many great mix engineers and teachers, as well as some checklists and
worksheets of my own design.
DISCLAIMER: The approach to mixing, eq, compression, and so forth revealed in this guide is not
the only way to approach the craft. It is merely ONE way that I, and many others, have found to
be a successful method for getting professional, release-ready mixes, that have rocked many a
sock straight off.
Happy Mixing :)
-Jake Kodweis
www.promusicgo.com
MIXING MINDSET
Before you start mixing, make yourself comfortable. Sit down, get a pillow for
SETTLE IN your back if you have to, and make sure to have something to drink and maybe
a snack handy. You’re in this for the long haul.
It’s all about the mix and only the mix. Disconnect your internet connection, put
NO DISTRACTIONS your phone on Do Not Disturb and allow no one in the room. Great mixes get
110% of your attention.
Before you start, it’s good to listen through 2 or 3 songs to reset your ears and
RESET tune in to the room and the environment. Close your eyes, listen, and relax.
Make sure to have a notepad and pen handy… you’re likely to need them.
TAKE NOTES
Mixing at high volume levels will fatigue the ears, and you won’t be able to mix
TURN IT DOWN as long. Keep it at “conversation-level”, meaning you should be able to have a
conversation with the person next to you without raising your voice.
When you’re mixing you are making a ton of decisions, which requires a lot of
BREAK TIMES brain power. Taking breaks can reset your ears and your mind, and help you
refocus. Set an alarm on your phone if you have to.
When you’re mixing, determine the journey the song is going to take. Where’s
THE JOURNEY the climax? How does your mix build up to it? What instruments need to be
muted or unmuted to keep things engaging?
Establish a solid groove, and develop it through the course of the song. Build on
THE GROOVE the groove by introducing new elements to the mix as the song progresses.
Mixing is so detail-oriented, it can be easy to lose sight of the big picture. Make
THE FOCUS sure to take a step back and ask yourself what the most important element is.
Determine the focus and build your mix around it.
It can be helpful to visualize the mix before even touching a fader. Envision
MIX-MAPPING where the musicians might be located if the band was playing in front of you,
and draw it out using the map provided in this guide.
Don’t be afraid to make irreversible decisions. Trust your ears, make a creative
COMMIT choice, nail it down, and move forward with the mix.
www.promusicgo.com
INSTRUMENT ARRANGEMENT
ARRANGEMENT ELEMENTS
ELEMENT PURPOSE TYPICAL INSTRUMENTATION
Pad Long sustained notes that “glue” other mix Synth, Strings, Guitar (power chords),
elements together Organ
Rhythm Instruments that provide motion to the Percussion, Rhythm Guitar, Keys
songs and help to support the foundation
Lead Focal point of the song Lead Vocal, Lead Guitar or other solo
instrument
Fill Instruments that fill in the gaps between Background Vocals, Drum Fill, Lead
lead phrases Riff, or other solo instrument
ARRANGEMENT RULES
RULE #1: No more than 4 elements playing at once
RULE #2: Every element should occupy its own frequency range
ELIMINATING FREQUENCY COMPETITION
When two instruments occupy the same fundamental range, the offending/competing
instrument can be…
● Lowered in volume
● Panned to a different location
● Muted
● EQ’d to take up a different frequency
● Transposed to take up a different octave
● Re-tracked in a different octave
● Re-tracked on a different instrument
● Re-tracked with a newly written, non-competing part
www.promusicgo.com
6kHz - 16kHz HIGHS / BRILLIANCE Rack Tom Fullness at 240-500Hz, Attack at 5-7kHz
FREQUENCY PROPERTIES
Floor Tom Fullness at 80Hz, Attack at 5-7kHz
16Hz - 40Hz Rumble
www.promusicgo.com
EQ TIPS
GOALS
● To make each element sound clear and well-defined
● To give each instrument its own predominate frequency range
COMMON APPROACH
REMOVE ● High Pass unwanted lows
STEP UNWANTED ● Low Pass unwanted highs
1 FREQUENCIES ● Sweep for offending frequencies and room resonances
(Subtractive EQ) ● Cut with a narrow Q
ENHANCE ● Tone-shaping
STEP PLEASING ● Experiment with saturation
2 FREQUENCIES ● Use shelfs sparingly
(Additive EQ) ● Boost with a wide Q
www.promusicgo.com
COMPRESSION TIPS
GOALS
● To control dynamics
● To create perceived depth and movement
COMMON APPROACH
STEP On your snare track, set the attack time as slow as possible, release time as fast as possible,
1 and threshold as high as possible so no compression is happening
STEP Decrease threshold until the gain reduction meter starts to show some compression, turn the
2 attack faster until the sound of the instrument starts to dull, then back off a bit
STEP Adjust the release so that the meter almost makes it back to 0 before the next snare hit
3
QUICK TIPS
● Set the attack and release to make the compressor breath with the pulse of the song
● Lower ratio (2:1) for more subtle, natural control
● Higher ratio (4:1) for more punchy, processed sound
● Slow attack/fast release can make things sound punchier, and closer
● Fast attack/slow release can hold sounds in place, and make them sound further away
● Make sure to level-match with the original signal (bypass plugin)
● Gain reduction of about 3-6db can yield more natural results
● You don’t need much to make a difference
● Two subtle compressors side-by-side can be better than one doing all the heavy lifting
● If you compress the mix buss, do it gently (1-3db gain reduction)
● Try parallel compression; duplicate a track or buss, insert a compressor with extreme
settings (ex: high ratio, fastest attack, slowest release, low threshold) and blend to taste
with the original track
www.promusicgo.com
Medium (Slap) 150-400ms can create a sense of space around the source
Ping-pong Delay that bounces from one side of the stereo field to the other
Tape Analog, rolled-off highs, and a subtle increased distortion with each repeat
QUICK TIPS
● Keep reverbs short if you’re trying to create a sense of space
● Long reverbs or too much reverb can quickly make your mix muddy
● Time reverb decay to the tempo of the song
● Consider sending all your tracks to ONE buss with a room reverb and adjust the sends on
each track to vary the distance
● EQ your reverbs to clean things up
● Use pre-delay on your reverbs to separate the source from the effect
● A slap delay can create a cleaner sense of space than reverb
● Both create space, but reverb pushes sounds further away while delay keep things close
● A single delay is called a throw delay, and can make a good fill between vocal phrases
● Placing a reverb after a delay can create an epic ambient effect
● Try medium delays instead of reverbs on vocals and guitars
www.promusicgo.com
SONG TITLE:
❏ GROUPS & BUSSES Create drum busses, background vocal busses, etc.
❏ AUX TRACKS & EFFECTS Create aux tracks for effects you know you’ll use later
❏ CREATE MIX BUSS Create and send your tracks to a mix buss
❏ FIRST LISTEN Listen to the song, rough mix with levels only
www.promusicgo.com
SONG TITLE:
MIX MAP
www.promusicgo.com
SONG TITLE:
MIXING CHECKLIST
MIX
❏ MIX BUSS COMPRESSION Add subtle compression to mix buss
100 600 2 7
200 700 3 8
❏ ALT. SYSTEM CHECK Check against references on headphones, car speakers, phone, etc
❏ REPEAT As needed
www.promusicgo.com
Subscribe for New Episodes Every Thursday:
Youtube.com/ProMusicGo
Join the Facebook Community:
Facebook.com/ProMusicGo
Follow us on Instagram:
Instagram.com/ProMusicGo
www.promusicgo.com