TOTAL MIXING WORKFLOW

FINISHING NO YES
STEP 1: INITIAL STEP 3: FINAL Educate &
Make final adjustments using Revise &
OBSERVATION the listen-thru method OBSERVATION push back on
redeliver
rec/editing
GET & SET BLOCK PROCESSING HANDLE REVISIONS
EXPECTATIONS Process instrument “blocks” Can they be done in mixing?
Collect client notes using the fix-first method
WAS THE GAP
BRIDGED?
COLLECT THE FILES INITIAL BALANCE BOUNCE & DELIVER
Balance the tracks using Is it in the ballpark? Export 24-bit wavs and send
Multitracks, references, rough mix Were the client's notes
no-plugin mixing to client & wait for revisions
addressed?
Is everything cohesive?
DOUBLE CHECK
IDENTIFY THE GAP PREP
Fades at all cut points and
Can mixing bridge the gap? Set up and organize your session room compensation is off
NO STEP 2: NO YES STEP 4:
YES
Educate & Educate &
push back on
Go to MIXING push back on
Go to PACKAGING
step 2 step 4
rec/editing PROCESS rec/editing & DELIVERY
 EDITING CHECKLIST

ORGANIZE YOUR SESSION. Editing is stressful if you don’t know where

everything is.

CREATE A ROUGH VOLUME BALANCE. It doesn’t need to be perfect. You’ll do

the actual volume balancing once you’re mixing.

“CLEAN” YOUR TRACKS. Cut out any silence in between sections that could have
noise, pops, lip smacks, or bleed from other instruments.

ALIGN THE PHASE OF YOUR TRACKS. If you have any instruments that were
recorded with multiple mics (like a drum set), make sure you’ve aligned their phase.

GROUP YOUR TRACKS. You don’t want to do any editing on instruments that
were stereo miked if they aren’t grouped together.

FIX TIMING ISSUES IN YOUR RHYTHM SECTION. Your mix won’t sound pro if the
performance isn’t locked in. Use either hand editing or elastic editing.

REPLACE DRUM HITS WITH SAMPLES. This is optional. If you feel like your drums
need a little extra oomph, adding drum samples may help.

COMP YOUR VOCALS. Create the greatest performance possible by cutting

together the best bits from all of your vocal takes.

TUNE YOUR VOCALS. You don’t need to tune them too hard. Just make sure
there aren’t any distracting notes that take away from the performance.

FIX TIMING ISSUES IN YOUR VOCALS. You need to make sure your vocals are
sitting “in the pocket.” Use either hand editing or elastic editing.

TIME-ALIGN YOUR HARMONIES TO YOUR VOCALS. The tighter the harmonies,

the better they will sit in the mix.

CREATE YOUR FADES. Any region that has been cut should have a very short
fade or crossfade (e.g. 10ms) at its beginning and end.

BOUNCE EVERYTHING IN PLACE. Export all of the edits as their own audio files.
That will save you massive amounts of CPU.
 THE 12 STEPS TO
ORGANIZE YOUR SESSION

STEP 1: Arrange your tracks by instrument. Extra points if you order them the
same way for every mix.

STEP 2: Relabel tracks. Make sure they’re understandable, not 12_kick.aiff.

STEP 3: Color code tracks. Again, extra points if you color them the same way for
every mix. This will help you find things quickly.

STEP 4: Delete empty or unwanted tracks. If it’s not going to be in the mix, it
doesn’t need to stay in your session.

STEP 5: Hide unused tracks. If you want it in your session for safekeeping, make
sure you hide it from view.

STEP 6: Send your individual instruments to buses. Having everything under one
fader will speed up your mixing.

STEP 7: Insert fades and crossfades. At least 10 ms at the beginning and end of
each region should be enough.

STEP 8: Gain stage your files. Reduce the gain of channels that peak above
-6dBFS, and add gain to channels that peak below -30dBFS.

120 BPM STEP 9: Input tempo data and time signature. Without them, editing and
4/4 automation will be extremely difficult.

STEP 10: Create song section labels. Knowing where your choruses are is
invaluable when you’re mixing quickly.

STEP 11: Make sure the buffer size is high. Set it to 1024 to keep your CPU
usage low.

STEP 12: Import your reference tracks. Find some mixes similar to yours and
listen to them throughout the process.
 HOW TO GAIN STAGE
YOUR MIX

STEP 1:
Gain VU Meter Load up a gain plugin at the top
of any tracks that are peaking
above -6dBFS.
Stereo Out

STEP 2:
Put a VU meter at the beginning
of your stereo output and
0 0 calibrate it to -18dBFS.
3 3
6 6
9 9
12 12
15 15
18 18
STEP 3:
21 21
24 24
Solo the loud tracks one by
one, and play it around its
30 30
35 35
loudest point.
40 40
45 45
50 50
60 60
STEP 4:
Turn the volume of the gain plugin up
M S M S or down until the volume of the track
is around 0 dB on the VU meter.
Guitar Stereo Out

STEP 5:
Find any channels that are
peaking below -30dBFS and
VU 5 3 2 1 0
repeat steps 1-5, this time turning
10 7 1 2 the channels up instead of down.
20 3
60 80 100
40
20
 VOLUME BALANCING
IN 10 SIMPLE STEPS

STEP 1:
Look for any channels that are peaking and reduce the gain with a gain plugin.

STEP 2:
Loop the loudest section of the song.

STEP 3:
Turn the faders all the way down.

STEP 4:
Listen to a few reference tracks to prime your ears.

STEP 5:
Decide on the most important channel (your vocal, snare, etc.) and set it to 0 dB.

STEP 6:
Bring in the second most important channel and balance its volume with the
first channel.

STEP 7:
Continue in this manner, bringing up channels in order of importance.

STEP 8:
Once all the channels are up, spend at least 10 minutes adjusting the balance.

STEP 9:
Take a short break and listen again. You will likely find some final tweaks to
make before you move on.

STEP 10:
Once you’ve finished your initial mix, play the song from the beginning and
automate the volume of each instrument to fit.
 FREQUENCY SPECTRUM
TOO MUCH
Boomy Boxy Harsh
Rumble Tinny Too Much Character Brittle
Muddy Honky/Nasaly Sibilance
Too Far Forward Piercing
Bottom Present
Warm Definition Air
BALANCED
Punch Full Edge
Clear Bright
Dark
Weak Hollow Dull
Thin Not Enough Character
Distant
TOO LITTLE
20 Hz 50 Hz 100 Hz 200 Hz 500 Hz 1k Hz 2k Hz 5k Hz 10k Hz 20k Hz
SUB BASS BASS LOW MIDS MIDS UPPER MIDS HIGHS
 FREQUENCY BALANCE CHART
TOO MUCH RUM B LY B O OMY M UD DY M UD DY B OXY H O N KY H A R SH H A RSH P I E R C ING H I SSY
(CUT)
BALANCED DEE P FUL L PU NC HY W AR M WARM N A T U R AL EDGY P R ESENT C R I SP A I RY
TOO LITTLE W EA K W EA K T HIN T HIN H O LLOW SCO OPED D I STANT D I STANT DULL L I F E LESS
(BOOST)
20 50 100 200 400 800 1.5k 2.5k 5k 10k 20k
LOWS LOW MIDS MIDRANGE HIGH MIDS HIGHS
 FREQUENCY RANGE CHEAT SHEET
LOW END LOW MIDS MID RANGE HIGH MIDS HIGH END
20-200HZ 200-500HZ 500-2K 2-6K 6-20K
HP @ 20-35hz Cut or Boost Cut or Boost Cut or Boost Boost
Danger zone! Our
2 main instruments Transients (drum Most frequency info is Where most of the
ears are most
(kick & bass) each in punch) and most of found here and magic happens;
sensitive to this
separate parts of the the actual notes of doesn’t necessarily “taking the blanket
range; boost or cut
spectrum instruments live here need to be addressed off the speakers”
and people will notice
808s, kick, floor toms, Bass, toms, snare Almost all Electric guitars, Hi hats, shakers,
bass, mud in guitars, punch, kick punch, instruments have a vocals, snare percussion, cymbals,
doors closing, acoustic guitar body, piece of themselves presence, synth bite, synth sheen, acoustic
wind/pop in warmth, fullness that live in this range things that tend to guitar clarity,
microphones sound harsh sibilance
 ANATOMY OF AN EQ

Spectrum Frequency Low Pass Filter (LPF)

High Pass
Filter (HPF) Q Bell Shelf

20 50 100 200 500 1k 2k 5k 10k 20k

116 Hz 75.0 Hz 100 Hz 790 Hz 1500 Hz 2500 Hz 7300 Hz 11600 Hz

24dB/Oct 0.0 dB 0.0 dB +7.5dB 0.0 dB 0.0 dB +6.0 dB 24dB/Oct

0.71 1.00 0.60 0.71 0.30 0.20 1.00 0.71

High Pass
A filter that cuts the entire low end, letting the highs pass through.
Filter (HPF)

Spectrum Encompases all of the soundwaves that humans can hear (20 Hz–20 kHz).

Q How wide your filter is. The lower the number, the wider the filter.

Frequency The area of the spectrum that you are affecting.

Bell A filter centered around a single frequency. The most common EQ filter.

Low Pass
A filter that cuts the entire high end, letting the lows pass through.
Filter (LPF)

A filter on the high or low end of the spectrum that cuts or boosts
Shelf frequencies using a flat line.
 THE 4 WAYS TO USE AN EQ

#1 REMOVE THE GROSS STUFF.

Use narrow cuts to remove “room resonances.”

To find these, use an EQ sweep.
20 50 100 200 500 1k 2k 5k 10k 20k
Boost a bell all the way with a Q of 1.5 and
move it slowly from the left to the right.
If a small area gets extra loud or sounds
“nasty” to your ears, cut it.
Use a high pass filter to remove low end
noise (but only when needed).

#2 ENHANCE THE GOOD STUFF.

Use wider cuts and boosts (0.1–2.0 Q) to

shape the tone.

20 50 100 200 500 1k 2k 5k 10k 20k Do an EQ sweep to find areas that sound
good to your ears, and boost them. Start
with around 3dB and tweak to taste.
If any areas sound like they’re a little
overpowering, and cut them. Start with
around 3dB and tweak to taste.

#3 MAKE THINGS SOUND

DIFFERENT.
20 50 100 200 500 1k 2k 5k 10k 20k

For example, filtering the lows and highs

and boosting the mids will create the
classic megaphone sound on vocals.

#4 CREATE SPACE IN THE MIX.

Carve out space in the spectrum of certain

20 50 100 200 500 1k 2k 5k 10k 20k instruments to make space for other, more
important instruments.
For example, try cutting around 4
kHz in your acoustic guitar to
make space for your vocals.
 MIXING EQ ARSENAL
TRANSPARENT TONAL HARMONIC
Stock Channel EQ Stock “Analog” or “Vintage” EQ Stock Saturation
Kush
SSL 4000 E Series
FabFilter Pro-Q (Clariphonic, BLYSS, Omega
(Waves, UAD, Slate FG-S)
Preamps)
API 500 Series Waves
Slate Infinity EQ
(Waves, UAD, Slate FG-A) (MaxxBass, J37 Tape)
Neve 1073
Slate
iZotope EQ (Waves Scheps 73, UAD,
(VCC, VTM, VTC, Revival)
Slate FG-N)
Pultec Soundtoys
Waves Rennaissasnce EQ
(Waves Puigtec, UAD) (Decapitator, Devil-Loc, Radiator)
FabFilter Saturn
COMPRESSION, LIMITING
& CLIPPING

ORIGINAL SIGNAL

This is an example of what the original

signal might look like with no dynamic
processing.

LIMITED SIGNAL

Limiting turns the signal down as soon

as it hits the threshold. It can be used to
tightly control dynamics. Great for
individual tracks during mixing and an
essential tool for mastering.

CLIPPED SIGNAL

Instead of turning the signal down,

clipping chops off the peaks as they hit
the threshold. It can be used for
controlling dynamics while maintaining
punch or loudness. Great on drums and
percussive elements in the mix, and
handy for mastering as well.

COMPRESSED SIGNAL

Compression is great for more subtle

dynamic control, or for accentuating
transients. Different compressors have their
own character, so it’s wise to try different
types to see how the signal reacts.
 ANATOMY OF A COMPRESSOR
THRESHOLD
GAIN REDUCTION METER Determines the volume level where the compressor turns on.
How much volume level is being When the audio is louder than the threshold level, the compressor turns on.
reduced by the compressor. The lower the threshold, the more the audio is compressed.
The more volume is reduced, the harder
the compressor is working.
RATIO
Determines by how much the volume is reduced.
The higher the ratio, the more aggressive the compression.
-10
-5
To read a ratio, flip the numbers around. For example, a ratio of 4:1 means
-20 that for every 1dB that goes above the threshold, 1/4th of a dB comes out.
-30
-50 0 ATTACK TIME
The amount of time it takes the compressor to apply the full dose of
compression after the audio gets louder than the threshold.
THRESHOLD RATIO MAKEUP GAIN
RELEASE TIME
5 10
5 8
-30 -20
0 15 The amount of time it takes the compressor to fully recover from
3 12
20
gain reduction.
-5
-40 -10
2
20 -10 30
KNEE
-15 40
-50 0
30
Turns the threshold from a single number to a range of numbers.
1
dB :1 dB
A “hard knee” (0.0) keeps the threshold a single number.
KNEE ATTACK RELEASE The compressor is more accurate, but more obvious.
0.4 0.6
20 50 100 200 A “soft knee” (1.0) turns the threshold Into a large range.
80 500
15 50 The compressor is less accurate, but more subtle.
10 120 20 1K
0.2 0.8
5 160 10 2K MAKEUP GAIN
1.0
0 200 5 5K Increases the output level to compensate for the loss in volume
0
ms ms due to compression.
Use makeup gain to keep your instrument from getting quieter in the mix.
 THE 3 WAYS TO
USE A COMPRESSOR
-10

-5

METHOD 1:
-20

-30

-50 0

TO CONTROL THE DYNAMIC RANGE

THRESHOLD

5
RATIO

8
MAKEUP GAIN
5 10
OF AN INSTRUMENT.
-30 -20
15
0
3 12
-5 20
-40 -10
-10 30

This is to make
20

-50 0
2

1 30
-15 40 Settings:
dB :1 dB

■ faster attack the recording

KNEE ATTACK RELEASE
■ faster release more consistent,
20 50 100 200
0.4 0.6
15 80 50 500
■ harder knee helping it to sit
120 1K

■ higher ratio
10 20
0.2 0.8
5 160 10 2K
in the mix.
0 200 5 5K
0 1.0
ms ms

-10

METHOD 2:
-5
-20

-30

-50 0

TO SHAPE THE SOUND OF AN INSTRUMENT.

THRESHOLD RATIO MAKEUP GAIN

5 8 5 10
-30 -20

This “colors” the

15

3 12
-5
0

20
Settings:
-40 -10

2
20 -10 30
■ slower attack sound of an
-50
dB
0
1
:1
30
-15

dB
40

■ slower release instrument, giving

KNEE ATTACK RELEASE ■ softer knee it more character
0.4 0.6
15
20 50
80 50
100 200
500
■ lower ratio and excitement.
10 120 20 1K
0.2 0.8
5

0
160 10

5
2K
Use an analog compressor if possible.
200 5K
0 1.0
ms ms

-10

-20
-5
METHOD 3:
-30

-50 0

TO “GLUE” INSTRUMENTS TOGETHER.

THRESHOLD RATIO MAKEUP GAIN
5 8 5 10
-30 -20

3 12
0
15
Settings: Use on instrument
20
-5
buses or the mix bus.
■ medium attack
-40 -10
-10 30
20
2

-50
dB
0
1
:1
30
-15

dB
40
■ medium release Helps to make several
KNEE ATTACK RELEASE
■ medium knee instruments feel like
0.4 0.6
20 50
80
100 200
500
■ lower ratio they’re all performing
15 50

0.2 0.8
10 120 20 1K together.
5 160 10 2K

0 200 5 5K
0 1.0
ms ms
 HOW TO SET UP MIX BUS COMPRESSION
STEP 6:
STEP 1: -10
-5 Increase the release until the
Set the ratio to 3:1. -20 compressor is “breathing” in
time with the song. Try
-30
soloing the kick and snare -
-50 0 make the gain reduction
STEP 2: meter fall back to zero
between each hit.
Lower the threshold until
you’re getting around 10
dBs of gain reduction. STEP 7:
Increase the threshold
THRESHOLD RATIO MAKEUP GAIN until you get the desired
STEP 3: 5 8 5 10 amount of aggression,
-30 -20
0
15 thickness, and dynamic
Set your attack time very 3 12 control - usually around
-5 20
slow (100 ms). -40 -10
1-2dB of gain reduction.
-10 30
20
2
0 -15 40 STEP 8:
-50 1 30
STEP 4:
dB :1 dB
Adjust the ratio to taste.
Set your release time very Lower the ratio (2:1) if you
fast (5 ms). want more subtle
compression. Raise the
KNEE ATTACK RELEASE ratio (4:1) if you want more
20 50 100 200 aggressive compression.
0.4 0.6
STEP 5: 15 80 50 500
10 120 20 1K STEP 9:
Decrease the attack until 0.2 0.8
you hear the transients of 5 160 10 2K
Apply makeup gain to
the mix become dull and
0 200 5 5K compensate for the
lifeless, then back off a bit. 0 1.0
ms ms volume you lost during
compression.
 MIXING DYNAMICS ARSENAL
UTILITY COMPRESSION SATURATION & CLIPPING
Stock 1176 Stock
(Compressors, Limiters) (Stock, Waves, UAD, Slate Digital) (Tape, Distortion, Saturation, etc.)
FabFilter LA2A & LA3A FabFilter
(Pro-C, Pro-L) (Stock, Waves, UAD, Slate Digital) (Saturn)
iZotope DBX160 Kush
(Compressors, Limiters) (Waves, UAD, Slate FG-401) (Omega TWK, Pusher, Novatron)
Waves SSL 4000 Tape Emulation
(L1, L2, R-Vox, R-Comp) (Waves, UAD, Slate FG-DYN) (Waves Kramer, Waves J37, Slate VTM)
LoudMax Limiter API 2500 SoundToys
(Waves, UAD) (Decapitator, Devil-Loc, Radiator)
Distressor Sonnox Oxford Inflator
(Empirical Labs, UAD, Slate FG-Stress)
Dada Life Sausage Fattener
Fairchild
(Waves Puigchild, UAD, Slate FG-MU)
JST Clip
 HOW TO CREATE A ROOM
REVERB FOR YOUR MIX
WHAT IS REVERB?
Reverb is the sound of the room. When reverb is added to an instrument, that
instrument sounds like it’s in a new space.

WHY SHOULD I USE REVERB?

1 To push things back in the mix. 2 To control the tone of the mix.

HOW TO CREATE A ROOM REVERB FOR YOUR MIX.

STEP 1: STEP 2
CREATE TWO AUX CHANNELS. SET UP YOUR TWO CHANNELS.

Label one “Ambience” and the other “Room ■ AMBIENCE

Tone.” Place a reverb plugin on each.
REVERB TYPE ROOM

Pre-delay Decay time Reflections Distance Balance

Bus 1 Bus 2

0 ms 500 ms 0 sec 5 sec early late 1% 100% dry wet

Reverb Reverb

Balance: 100% wet

Type: Room
Decay time: 250–750 ms
Pre-delay: 2–25 ms
Reflections: More early, less late
Distance: 1–5%
0 0
3 3
6 6 ■ ROOM TONE
9 9
12 12 REVERB TYPE ROOM, HALL, OR CHAMBER
15 15
18 18 Pre-delay Decay time Reflections Distance Balance

21 21
24 24
30 30
0 ms 500 ms 0 sec 5 sec early late 1% 100% dry wet
35 35
40 40
45 45 Balance: 100% wet
50 50
Type: Room, hall, or chamber
60 60
Decay time: 500–3000 ms
Pre-delay 0–75 ms
Ambience Room Tone Reflections: Less early, more late
Distance: 15–50%
 HOW TO CREATE A ROOM
REVERB FOR YOUR MIX

STEP 3 STEP 5
SEND SOME OF EACH INSTRUMENT TO BALANCE THE VOLUME IN YOUR MIX.
THESE TWO AUX CHANNELS.
Turn the volume of the aux tracks all the way
If you want to push an instrument back in the down.
mix, send more of it to the Ambience channel.
Then turn them up slowly until they sound
If you want the instrument to have noticeable nice to your ears.
reverb, send more to the Room Tone channel. Then turn them back down 1-2dBs for safety.

Bus 1 Bus 2
Bus 1 Bus 1 Bus 1
EQ EQ
Bus 2 Bus 2 Bus 2 Reverb Reverb

Stereo Out Stereo Out

0 0 0 0 0
3 3 3 3 3
6 6 6 6 6
9 9 9 9 9
12 12 12 12 12
15 15 15 15 15
18 18 18 18 18
21 21 21 21 21
24 24 24 24 24
30 30 30 30 30
35 35 35 35 35
40 40 40 40 40
45 45 45 45 45
50 50 50 50 50
60 60 60 60 60

Vocals Guitar Drums Ambience Room Tone

STEP 4
PUT AN EQ BEFORE THE REVERBS.

Move a high pass filter up until the mix starts

to sound too thin.
Listen to your overall mix. Is it sounding too
dark? Try boosting the top end of the
reverbs with a shelf. Is the mix sounding too 20 50 100 200 500 1k 2k 5k 10k 20k

bright? Try cutting with a shelf instead.

Are the reverbs making your mix sound
muddy? Try cutting 3-10dBs in the low mids.
 SPATIAL PROCESSING ARSENAL

REVERB DELAY

Stock Stock

Slate Verbsuite Slate Repeater

Any Valhalla Reverb SoundToys Echoboy

Any Lexicon Reverb Valhalla Delay

Any Seventh Heaven Reverbs Waves H-Delay

FabFilter Pro-R Waves Manny Marroquin Delay

SoundToys Little Plate FabFilter Timeless

UAD EMT 140 & 250 UAD Galaxy Space Echo

Altiverb Kramer Tape

 THE VOCAL MIXING FORMULA
CLIP GAIN
GAIN STAGING SURGICAL EQ
AUTOMATION
THE FIRST
TONAL EQ DE’ESSING
COMPRESSOR
THE NEXT
SATURATION LIMITING
COMPRESSOR
VOLUME FREQUENCY REVERB &
AUTOMATION SLOTTING DELAY
 HOW TO CREATE A
VOCAL DELAY

This is a great way to create a sense of space around a vocal if you want an exciting,
up-front vocal sound.

Stereo Link

LEFT DELAY RIGHT DELAY OUTPUT MIX

Delay Time Feedback Delay Time Feedback Left Right

75.0 ms 5% 100 ms 5% 100% 100%

STEP 1 STEP 2

Input 1 Bus 1 STEP 1

AUX
Stereo Delay
Create an aux track to put your stereo delay on.
Bus 1 Send your vocal to that aux track.

Stereo Out Stereo Out

STEP 2
DELAY

Set your delay to 100% wet.

Unlink the left and right channels.

0 0
3 3 Set one side to 50–200 ms.
6 6
9 9 PRO TIP: The longer the delay time,
12 12 the more obvious the delay will be.
15 15
18 18 Set the other side 20-50 ms behind.
21 21
24 24 PRO TIP: The farther apart the second
30
channel is, the wider the vocal will sound.
30
35 35
Set the feedback to 0–15%, depending how natural
40 40
45
you want it.
45
50 50
60 60

M S M S
Vocals Delay
 HOW TO CREATE A
VOCAL DELAY

20 50 100 200 500 1k 2k 5k 10k 20k

STEP 3 STEP 4

STEP 3 Bus 1
EQ
EQ
Put an EQ before the delay. Stereo Delay

Move a low filter up until the mix starts to

sound too thin.

PRO TIP: Try not to cut higher than 300 Hz. Stereo Out

Move a high filter down until the delay gets

too lost in the sound of the vocal.

PRO TIP: Try not to cut lower than 3 kHz.

0
STEP 4 3
6
VOLUME 9
12
15
Turn the volume of the aux track all the 18
way down. 21
24
Then turn it up slowly until it sounds nice to 30
your ears. 35
40
Finally, turn it down a few dBs for safety. 45
50
60

M S
Delay
 HOW TO CREATE A
VOCAL REVERB
This is a great way to create a sense of space around the vocal if
you want a more natural, less up-front vocal sound.

REVERB TYPE PLATE

Pre-delay Decay time Reflections Distance Balance

0 ms 500 ms 0 sec 5 sec early late 1% 100% dry wet

STEP 1 STEP 2

In 1 Bus 1 STEP 1
AUX
Reverb
Create an aux track to put your reverb on.
Bus 1 Send your vocal to that aux track.

Stereo Out Stereo Out STEP 2

REVERB TYPE

Set your reverb to 100% wet.

Try each reverb type (room, hall, chamber, or
plate) and pick your favorite.
0 0
Set the reverb time to 4 seconds, then slowly move
3 3
6 6 it down until it sounds natural with the rest of your
9 9 mix.
12 12 PRO TIP: Usually shorter reverb times
15 15
work best on vocals. Try something
18 18
21 21 between 0.5–1.5 seconds.
24 24
Increase the pre-delay until the vocal is standing
30 30 out from the reverb.
35 35
40 40 PRO TIP: Usually a pre-delay of 30-100 ms
45 45 is good.
50 50
Adjust the distance (or early/late reflections) to taste.
60 60
PRO TIP: Further distance or more late
reflections will sound lusher, but will push
Vocals Reverb
the vocal in the mix.
 HOW TO CREATE A
VOCAL REVERB

20 50 100 200 500 1k 2k 5k 10k 20k

STEP 3 STEP 4

STEP 3 Bus 1
EQ
EQ
Put an EQ before the reverb. Reverb

Move a high pass filter up until the mix starts

to sound too thin. Stereo Out
Listen to your vocal. Is it too dark or too
bright? If it’s too dark, boost the highs with a
shelf. If it’s too bright, cut the highs.

Is the reverb making your vocal too muddy?

Cut 3–10 dBs in the low mids.
0
3
6
STEP 4 9
12
VOLUME
15
18
Turn the volume of the aux track all the way 21
down. 24
30
Then turn it up slowly until it sounds nice to 35
your ears. 40
45
Finally, turn it back down a few dBs for 50
safety. 60

Reverb
 MASTER YOUR MIX
IN 14 STEPS
STEP 1: Optimize your listening space. Mastering in an untreated room will make
your song fall apart in any other space.

STEP 2: Finish your mix. You can’t master until the mix is done!

STEP 3: Check the levels. Make sure none of your faders are clipping. Also, the
loudest part of the song should be peaking between -4 dB and -6 dB on the mixbus.

STEP 4: Bounce down your stereo track. Make sure it’s exported at the same bit
and sample rate as the session. It needs to be a .wav or .aiff file.

STEP 5: Take a break. Give your ears a break. Wait at least a day.

STEP 6: Create a new project and import your references. Using reference tracks
will make a huge difference in the quality of your master.

STEP 7: Listen for the first time (and take notes). You’ll hear 80% of the problems
in this first listen.

STEP 8: Make a full analysis. Listen to your references, then listen to the mix again.
Check your mix in several different spaces. Write down what you hear.

STEP 9: Control the dynamics. Use a compressor to lightly compress the mix. 1–2
dBs of gain reduction is fine.

STEP 10: Fix the tone. Use an EQ and multiband compressor to match the tone of
your references.

STEP 11: Enhance the mix. Use tools like saturation and stereo widening to color
the mix. This is optional.

STEP 12: Limit the mix. Use a limiter to increase the loudness of your mix. Shoot
for 2-3 dBs of gain reduction at the loudest points.

STEP 13: Make your final checks. Use a meter like MAAT DRMeter MkII to make
sure your dynamic range is adequate.

STEP 14: Bounce it. Export your mix at 16 bits and 44.1 kHz. Don’t forget to dither!
 HOW TO USE A LIMITER
WHEN MASTERING

STEP 2 STEPS 3, 8 STEPS 4, 6 STEPS 5, 7

INPUT REDUCTION OUTPUT

dB 2.5 2.5 dB 2.5 dB -0.5 -0.5

20 0 0 OUTPUT LEVEL GAIN ATTACK RELEASE

12 1.5 -2 -0.5 dB +17.0 dB 100.0 ms 500.0 ms
9 3 -4
6 6 -6
3 9 -8
0 12 -10
-3 15 -12
-6 20 -14
-9 25 -16
-12 30 -18
-15 35 -20
-20 40 -22
-30 50 -24 AUTO
-60 60 -26

STEP 1: Add the limiter as the last plugin in your chain.

STEP 2: Set the output ceiling at -0.5 dBFS.

STEP 3: Increase your input gain until you’re getting about 10 dBs of gain reduction.

STEP 4: Set your attack very slow (100 ms).

STEP 5: Set your release very slow (500 ms).

STEP 6: Decrease the attack as much as possible until you hear the mix start to lose
impact, then back off a bit.

STEP 7: Decrease the release as much as possible until you begin to hear your mix distorting,
then back off a bit. You could also use the auto function to let the compressor do it for you.

STEP 8: Decrease your input gain until you’re getting 2–3 dBs of gain reduction.
 ANATOMY OF A NOISE GATE

GATE DUCKER OPEN CLOSE

Threshold Reduction Attack Hold Release Sidechain None

-15 dB -25 dB 3 ms 130 ms 40 ms

Monitor OFF

High Cutoff 20000 Hz

-100 0 -100 0 0 100 0 1k 0 10k

Hysteresis -6 dB Lookahead 5 ms Low Cutoff 20 Hz

THE BASICS

THRESHOLD
If the incoming audio signal is louder than this dB level, the gate stays open. If it falls below
this level, the volume is reduced.

REDUCTION
The amount of volume the audio signal is reduced by if it falls below the threshold.

ATTACK
Sets the time it takes to fully open the gate after the audio signal goes above the threshold.

HOLD
Determines the minimum amount of time that the gate stays open before releasing. This
prevents “chattering,” or the unnatural sound of the gate rapidly opening and closing.

RELEASE
Sets how slowly the volume is lowered after the audio signal falls below the threshold again.
 ANATOMY OF A NOISE GATE

EVERYTHING ELSE
HYSTERESIS
Turns the threshold into a range instead of a single number. If an audio signal goes above
the threshold level, the gate opens. The gate only closes if it goes below the range set by
the hysteresis.
Example: Let’s set the threshold to -15dB and the hysteresis to -5dB. The gate will now open
when the audio signal gets louder than -15dB, but will only close when it falls below -20dB.
This also helps prevent “chattering”.

SIDECHAIN
Allows you to link the gate to another audio source, closing the gate only when the newly
sidechained instrument goes below the threshold.

FILTERS
Filters the incoming audio signal to solo out the frequency area that you want to register
the gate. These filters don’t affect the tone of the instrument, they only affect how
accurate the gate is.
Often used on drum recordings where other drums in different parts of the frequency spectrum
are accidentally triggering the gate to open. For example, for a snare recording you might set
your low filter at 100Hz to ignore the kick and your high filter at 300Hz to ignore the cymbals.
If the gate is using a sidechain, then the sidechained audio is filtered instead.

MONITOR
Allows you to hear what the filters are doing to the incoming audio signal so that you can
fine tune them. Make sure to turn this off once you’ve finished.

GATE/DUCKER
Selecting “Gate” will lower the volume when the audio is quieter than the threshold.
Selecting “Ducker” will lower the volume when the audio is louder than the threshold.
Ducking is most useful when using a sidechain. For example, a common technique is to
sidechain the vocal to the guitar, so that the guitar drops in volume when the vocal comes in.

LOOKAHEAD
Controls how far ahead the gate analyzes the incoming signal.
A large lookahead will make the gate more accurate, but it will also increase the CPU load on
your computer.

OPEN/CLOSE
Shows whether the gate is currently open or closed.
 HOW TO USE A NOISE GATE

STEP 1: STEP 2: STEP 3: STEP 4:

Lower the Lower the Adjust the attack Adjust the hold
reduction level. threshold. time. and release time.
Set it to the Set it where only If it’s percussion, Make it long
lowest possible the desired use a very fast enough for the
setting. sound is opening attack. If it’s a desired sound to
the gate. slower instrument pass through
(like strings or a naturally, but
pad), use a slow short enough that
attack. the unwanted
noise is cut off.

Threshold Reduction Attack Hold Release Sidechain None

-15 dB -25 dB 3 ms 130 ms 40 ms

Monitor OFF

-100 0 -100 0 0 100 0 1k 0 10k High Cutoff 400 Hz

Hysteresis -6 dB Lookahead 5 ms Low Cutoff 100 Hz

STEP 5: STEP 6: STEP 7: STEP 8:

(optional) (optional) (optional) (optional)
Adjust the Adjust the Adjust the Increase the
hysteresis. filters. lookahead. reduction level.
Start at -6dB’s Turn on the Usually a few A small amount
and move it Monitor button milliseconds of the original
around until the first. Use the is fine. level should be
gate sounds more filters to focus in let through. This
natural (while not on the desired will help the gate
letting any sound. Then turn sound more
unwanted noise the monitor natural.
pass through). button off.
 REFERENCING CHEAT SHEET
PRODUCTION MIX FREQUENCIES DYNAMICS SPACE
What’s the What is the How is the sonic How are the How wet or dry
recording balance spectrum dynamics is the track?
quality like? between the overall? overall?
instruments? How long are
Is it more Are there a lot Is everything the reverb tails?
modern or more Which of lows, mids, locked in place
old school? instruments are highs? or is there room Which elements
placed loudest? to breathe? have noticeable
Is it mostly live What does the reverb?
sources or Is there a lot of spectrum look Does it sound
samples? volume like on the punchy or thick?
automation? analyzer?
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