magnify
Home Additional Mix tips

Additional Mix tips

This page is under construction.

Mix Trick Why? How?
Kick/Bass Duck Allow kick attack to stand out & also make bass
attack sound more in time with kick
Compressor on bass at end of chain that is keyed by
kick via a buss
Vox/guitar Duck (mono guitar or stereo
guitar)
Allow for vocals to stand out over neccessary loud
guitar parts
MS center channel ducking for vocal
presence
Loud stereo guitar (or any instrument) with center
channel ducking to allow for vocal intelligability while outside channels
stay loud
Kick/Bass/Synth Pump ducking like basic kick duck but release and attack are set
to create a musical effect
Set up compressor on Bass/synth trigger with kick.
Attack time works best fast but can be fudged for feel. Set release time long
for musical effect. Works best to start with tempo subdivisions like 1/4notes
etc. then lengthen or shorten from there.
Smashed Hihat shimmer (heavy compression
with eq)
basic dirty hihat sound for aggression and tone
Overhead Shimmer EQ/comp to extend decay and add brilliance and shimmer while
reducing metal bite as well as add depth and room
Parallel Compression/NY comp/upward comp
for subgroups, submixes, or mixes
Used to control transients while increase loudness
(upwards) used to add umph and power or smoothness and decay based on attack,
release, and gain reduction
Parallel Compression for individual tracks same as on stereo tracks but individualized for the
specific instrument and it’s characteristics and the final goal
Side chain vocals with eq’d and expanded
vocal track trigger
creates finite control of compressor on vocals by
manipulating vocal copy as key focusing on specifc frequencies and dynamic
ranges
duplicate vocal track place eq and filter out highs
and lows then send to expander tehn to key input on vocal compressor
Hybrid Subgrouping/parallel bus
compression
basic st buss compression, but with individual
instruments also going straight to mix buss to allow for freedom of certain
transients and frequences that would normallybe effected by the compression
Ducked delay send like ducked delay, but reduces send only to allow
for delay to stay open
Ducked Reverb send like ducked reverb, but reduces send only to allow
for reverb to stay open
Compressed Reverb returns for minor and extreme room mic techniques as well as
rhythmic techniques with attack and release
Kick/snare pop compression manipulation of ratio attack and release to achieve
“POP” effect to allow genre specific and rhythmic control
Kick/snare hold compression manipulation of ratio attack and release to achieve
“Smack-hold” effect to allow genre specific and rhythmic control
Bouncy bass compression manipulation of ratio attack and release to achieve
“bouncy” effect to allow genre specific and rhythmic control
Smooth bas compression manipulation of ratio attack and release to achieve
“smoothing” effect to allow genre specific and rhythmic control
Automated high end in bass/kick vie eq split
Delay Throw automated sends or mutes to delays
Reverb throw automated sends or mutes to reverbs
Reverse Reverb swell
Delayed reverb send create basic predelay or a timed effect into reverb
Small room to larger room reverb chain create early reflections
Large room to small room reverb chain create corridor effect
Compressed reverb send dynamically controlled send to “room” for
tighter source and controlled transients which effect reflections
EQ’d Reverb (fit instrument, fit mix,
shape room)
shape reverb to create specific room characteristic
or to fit into the mix and avoid masking other instruments in the mix
EQ’d Delay (emulate tape, fit
instrument, fit mix,
shape delay to create specific tape machine or delay
hardware or to fit into the mix and avoid masking other instruments in the
mix
automated delay feedback cfreate feedback loop to multiplay delay and created
desired effects
Delay into a delay create rhythmic delay effects with specific timings
based on the tempo and beat divisions
Phased drums ear candy effect as static or temporary production
piece
Stereo to Mono to Stereo swell ear candy effect to create movement in the
composition
Phase dance with faders (move around the
head)
one instrument multiple faders, some polarity
reverse to move instrument from left to right to fake surround left and fake
surround right. Wathc for mono compatibility
Phantom center duplicated instrument panned opposite to create
floating phantom center presence and depth. watch for mono compatilbility
Gated Guitars keyed with hihat/(or tapped
rythms)
rhythmic effect keyed by another instrument like a
hihat for blatant effect or layered texture
Stutter edits stutututututututututer edit
Filter sweeps on tracks/submixes/wholes
mix
ear candy sweeps via bus sends or scene mixing.
Sweep frequency and rate depend on tempo and instrumentation
Guitar tightened edits create hard statacatto performance via edits or
mutes
Hihat, bass or guitar delay for
subdividing rhythms
delay to increase rhythmic subdivision and tension.
i.e. eighth note hihat from quarters
simple delay set to a rythmic value
Slow down or record stop create record spin or tape stop effect Reguires and effect capably of modulating pitch and
tempo simultaneously.