We're getting dangerously close to the cut-off
point right now.
In 11 hours, registration to the Step By Step Mixing Challenge will close so if you haven't registered yet, make sure you do so right now so you can get access to all the live sessions and replays next week.
PLUS: here are all the things you learn from
the two step-by-step mixing courses that are already pre-loaded and waiting for you inside the challenge area:
How to simplify your tracks with submixes so that you can get better mixes in less time
Find out what all the pro engineers know about organizing your tracks for easy mixing
Why jumping into the mix without considering what you want
things to sound like will make everything take longer
Why a simple DI bass recording will never give you a full, powerful bass tone and what you need to do instead
The surprisingly easy critical listening exercises you should do before you even start mixing your tracks
The three powerful plug-ins that work wonders on your mix bus to immediately add glue, warmth and power to your tracks
The secret weapon to make your home-recorded drums sound like they came from an expensive studio
EQ and compression techniques to make your drums sound punchy and powerful
How to get rid of boxiness and boom from your drums
A sneaky little trick to immediately make your mixes brighter and more modern-sounding
A quick and easy way to control your
low end and add width to your mix
How a separate “snare-stretch” trick will add depth and presence to your snare sound
My “virtual vintage” bass processing chain that makes a boring DI’d bass come alive
My go-to compressor for a big bass and guitar sound
A dead-simple way to make both the bass and guitars play nicely together in the low-miss without adding
muddiness
My acoustic guitar capo-trick for adding lift to the choruses to make them bigger
How to add excitement to dull acoustic guitars so that they add brilliance and brightness to your mix
Why and when you should use LCR panning - and why all these online arguments about panning are a total waste of time
The REAL secret behind why you should use LCR panning to create
width in your mixes
How to create separation in a dense guitar mix without making everything sound thin and washed out
How to instantly get that “analog warmth” - even if you don’t have fancy outboard equipment or an expensive mixing console
You’ll discover how to add depth and space to all your instruments without creating a washed-out, reverb-y mess
You’ll learn how to use
mono delays to create depth and width to your tracks so that you can create a 3D mix that fills up your speakers
You’ll find out how to quickly recognize and avoid too much compression, overblown low end, or harsh high-end
My over-the-top effects chain to create an organ pad that fills up the entire mix without getting in the way
Why some compressors and reverbs work better than others, and the reason you shouldn’t
slap just any plug-in on your tracks
Why “black box magic plug-ins” are annoying because you don’t know what they’re doing - and if you don’t know what they’re doing, you don’t know how to get the sound you want (even if they’re fun to cheat with)
A fast and easy way to target a problematic frequency area that’s only causing issues sometimes, without using automation, macro-programming, or
re-recording
The Pulteq trick revealed - if you’ve ever wondered WHY the Pulteq trick does such wonders for your low-end, I show you exactly what’s going on beneath the hood
Beware of this common vocal mixing mistake when using doubled vocals - you’ll learn how to mix multiple vocals together so that you can get a great vocal sound at home
How the serial compression LA2A/1176 ACTUALLY WORKS
and what it does to the waveform so that you can finally understand why it makes your vocal sit in the mix
How to create a natural vocal space that sits with the instruments and doesn’t clutter up the rest of the mix
How automation can add interest and excitement throughout the mix
How to rebalance and add final tweaks to your mix after you’ve mixed all the tracks so
that everything sits nicely and plays like a record
How to use reference mixing to beat your own mixes so that every mix you finish is better than the one before
How to prepare your mix for mastering IF you use a mastering engineer
The real secret to adding headroom to your mix before mastering - almost everyone gets this wrong and if you ask about this on the internet you’ll get a bunch of
bullshit answers.
How to master your mix with linear phase EQ, multi-band compression, analog modeling, parallel compression, and limiting to enhance your mix even further so that it sounds like a professionally mastered record that’s ready to be released
How to break down and simplify a complex mix into its production elements
How to get a fast balance using the 1 dB rule
How to use mix bus processing to get a good rough mix
immediately
The perfect solution for taming your low-end
Creating separation between the 808 and kick with EQ
How to find the dominant frequencies of each low-end instrument
Where exactly to filter the low end to tighten up the mix and how to use multi-band compression to tame boominess
How to use artificial low-end enhancers to add more power to your low end
Why you should check your low-end for
translation at the beginning of the mix
How to add thickness in the lows with EQ
How to add air and width with parallel processing
How to use reverb to add ambience without washing out the drums
How to mix instrumentals to a beat without losing clarity and punch
How to add depth to your tracks and tone to your bass
How to EQ and compress vocals to keep them upfront in the mix
How
to add minor depth via delay inserts on your vocal bus
How to fit your vocals in the mix without getting the rest of the tracks in the way
How to add depth without adding unnecessary reverb and space
How to add doubling without your vocal sounding chorus-y and phase-y
How to keep a snappy snare from competing with the clarity of the vocals
How to make better mixes by beating your own reference
tracks
How to use linear phase EQ in mid/side to tighten up the low end
How to use multi-band compression to squeeze the dynamics and glue the mix together
How to use Mid/Side EQ in the high-end to create a three-dimensional wide mix
How to use parallel limiting to add even more loudness without squashing the peaks
The non-traditional way to master your mix the old-guard would hate me for telling you
about