***Make sure you read this email to the very end if you want to learn how to mix in less than two hours***
If you've ever seen a professional mixing engineer work on a song, it can look chaotic.
Jumping from one thing to another, tweaking random knobs and all of a sudden the mix just falls into place.
But when you try it, you're still tweaking your plug-ins after eight hours, scratching your head and wondering where you went wrong...
Wouldn't it be great if you could understand what their thought process is?
Although they might be reacting to the music in what seems like a random way, usually there's a system they're following.
My process has changed over the years, but it usually follows these six steps throughout, from a rough multi-track to a final mix.
1. Levels
I try to stick to the 1 dB rule when it comes to levels.
After I'm done with levels I usually either start EQ'ing or bus and route my instruments to make the process simpler.
2. EQ
EQ is invaluable when you need to create separation between your instruments and give them their space in the frequency spectrum.
So there's no wonder I spend quite a lot of time on this because if you get your mix sounding good with EQ everything becomes easier.
3. Compression
I follow one simple rule with compression:
Tweak the compressor until it sounds good.
It's as simple as that.
Of course, I tend to use different ratios, attack/release times and general gain reduction depending on the instrument but the rule still stands.
Tweak it 'til it sounds good!
After every instrument, I'll explain what I'm trying to accomplish when I'm tweaking each compressor setting and trying out each compressor style.
4. Three-Verb Technique
I like using my short, medium and long reverb technique to create a blend of spaces in a mix.
I also sometimes use a drum-verb, instrument-verb, and a vocal-verb. Three seems to be the magic number for my mixes.
It's an easy method to place your instruments wherever you want them in the front-to-back field.
5. Effects and Parallel Processing
I can get very creative with parallel processing and effects.
I use busses, amp simulator, and parallel compression to create:
- Bigger and wider guitar sounds
- Thicker and punchier vocals
- Extra-depth in guitar solos
6. Minor Adjustments for Translation
Because I have three sets of monitors (and a pair of headphones), I can get very close to a mix that translates well on other systems.
I go back and forth between the speakers, then bounce it out to listen on consumer speakers, and then tweak until it's ready.
Join me for two hours and I'll show you exactly how I do it
Of course, it's one thing to tell you the methods I use but it's much more useful for you to see them in action.
If you want to hang out with an experienced engineer and watch them complete a mix in less than two hours, all the while explaining their entire workflow process, you're gonna love this:
This week, my crash course for transforming your home studio demos into pro mixes, even if you only have stock plug-ins is on sale for 50% off!
I rarely offer this course for anybody who isn't already an Audio Issues customer, but until Friday you can get exclusive access to this fast-paced course that teaches you how to mix like a professional in only two hours.
Click here to check it out.
In Quick Mixing, I tell you my process for getting my mixes to translate better to other speakers so that you don't have to worry about letting your listeners down with mixes that don't translate to their crappy computer speakers.
People who've gone through the Quick Mixing system tell me things like this:
"There was so much that I learned, from where to boost and cut certain instruments in the eq, and that I've been misusing compression all this time. How to set up the interface to show the stereo out plus the master track was a huge thing I got out of it too, and how to use the reference tracks." -Toby Sear
Getting feedback like that makes me all warm and fuzzy inside because I know I've helped somebody make an impact with their music.
That's what it's all about right?
I'm also proud of Quick Mixing because it combines a few things:
- It's concise and to the point. You're busy so I don't want to waste your time with a lot of filler dialogue just to make my videos longer.
- It helps you save time mixing which means that if you charge for your services you'll make more money by mixing more songs!
Here's what you get when you purchase Quick Mixing With Stock Plug-ins:
- Two hours of workflow techniques as I show you how to mix a song from beginning to end fast, stopping every 10 minutes to teach you my time-saving methods I'm using to crank out a quality mix in less than two hours, using a proven workflow that works.
- You'll learn how you can find the right compression settings and style for drums, bass, guitars, and vocals so you can use that knowledge for your future mixes
- Watch me separate each instrument in the frequency spectrum by using EQ to carve out space for every instrument
- Hear how you can create depth and space around every instrument with only three reverb types (delay included).
- And more...
Plus: Quick Mastering and Editing Bonuses
The Quick Mastering and Editing/Comping packages give you even more tips and tricks to try out:
- The Quick Mastering 4 plug-in chain that works on any great sounding mix
- How to use a reference to get your master sounding like a professional record
- Using multi-band compression to glue the mix together without squashing it
- Using subtle linear phase EQ to make slight tweaks that make all the difference to your overall frequency balance
- What you should look for in your stock metering plug-ins when you're mastering
- How to really focus on hearing the changes in the emotion of the singer
- This one decision you make in the recording process to make your comping faster
- How to quickly edit your drums and bass together to both conserve the groove while keeping the time
- Why focusing on the most consistent instrument to edit to is your best bet instead of pulling everything to the click
- How to speed up the editing process by NOT listening to the whole take?
- The simple Logic grouping trick to make sure all the correct tracks get comped and edited together
- Why being an OCD vocal comping maniac is best for the song
- How to make sure you don't comp away the best part of each instrument
- And why you should let your drummer drum around the click to keep the music human
Here's what Tasos had to say about the videos after he watched them:
