When it comes to mixing everyone seems to have a different workflow. Not to mention that just about every mix calls for something different in order to realize its full potential. No two people or mixes are ever 100% the same. That’s what makes mixing so fun.
That being said, I find myself doing three things consistently every time I mix, without fail.
Via Marco Ghitti Flickr
1. Mix Buss Compression
Early on in every mix I’ll engage some light compression on the mix buss (a.k.a. the master fader). The purpose of compression on your mix buss is (in my opinion) to tame some of the bigger peaks and glue your tracks together. It always seems to breathe a tad bit of life into my tracks, before I ever have to do any surgical mixing.
The key with compressing your entire mix this way is to mix through the compressor from the very beginning. It affects your mixing decisions and you hear it from the very start. If you were to put it on towards the end, you won’t get quite the same effect and in fact your mix could unravel if you aren’t careful.
2. High Pass Filter
I still remember the first time I was made aware of what a high pass filter is and why I should use it. My mind was blown as I began high passing track after track, cleaning up the low end mud in my mix and getting much needed clarity and headroom back. Using a high pass filter effectively is literally the fastest way to clean up your mix.
Here’s how I do it. Since I’m likely going to use EQ on every track, I’ll put a multiple band EQ on, engage the high pass filter and trim that sucker all the way up on a track until it starts sounding thin. Then I dial it back a bit. This is carving out unusable low end while still preserving the full bodied tone of an instrument/voice. Simply do this on everything but the kick and bass guitar and you’ve immediately improved your mix.
3. Mix Sweetening
No matter how clear, punchy, or perfectly balanced the mix is, I never consider it done until it has been officially “sweetened.” What I mean is I take some time near the very end of the mix and listen closely through each section of the song as if I were a first time listener. I take note of transitions and the overall dynamics of the song as it progresses in time. Basically I’m listening to see if it’s interesting.
If all the verses sound exactly the same, we have a problem. I need each section of the song to build on the previous one and stay engaging, fresh, and exciting the whole way through. This can be achieved with simple panning automation, muting tracks here and there, doubling up parts as needed, or even quickly playing a key part or loop that wasn’t originally recorded. Whatever it takes, I want my mix to be interesting the whole way through, and so should you.
Are These Part Of Your Workflow?
Maybe you incorporate these three things into all of your mixes already. If not, why not try them? You have nothing to lose. In the end, every mix is different, but if you have a few consistent tools and techniques at your disposal you can confidently tackle whatever a mix throws at you knowing that you’re only improving the tracks and you’re getting closer to a final mix you can be proud of .
Do Not Create Another Song Until You Read This Guide
(Price: $17 Free Today)
Discover the 6 Steps for Creating a Radio-Worthy Song From Scratch
My name is Graham Cochrane and I'm the founder of The Recording Revolution, one of the world's most loved audio recording and mixing blogs with over 200,000 readers each month. 
I love that you mention number#3 “Mix Sweetening” for people. When I first started I didn’t focus on making things interesting I was focusing more on the “technical” stuff like how to use compression properly and EQ, but number 3 is SOOOOooooo important if you want your music to be “listenable” or sound like a “professional song” that people are willing to buy.
Number 3 is what makes music an Art. Wish I knew this earlier when I first started.
Number 3 I am doing in my songwriting time, but I had to record some bands that needed to help with it!
Great post Graham. All 3 are very important but I think number 3 is the one that separates amateurs from the big boys. It can turn a good mix into a great mix.
Yes. It’s the subtle patient art of creating a moving piece of music.
Regarding #1 – I’ve been a compressor junkie for some time, but then stepped away from it and definitely don’t consider it a “must” to have a compressor on the buss. If I don’t send my tracks to mastering, I will try to “master” on my own and then will throw a mastering compressor/limiter and what-not. In fact, I will do it often when I’m getting ready to send my tracks to mastering to get a feel for the levels of vox vs. the rest, plus the bass drum/snare levels. It’s suprising how often the subjective loudness of these instruments changes when the gain is maxed out. I then make the necessary corrections so they still sound great in the mix, but I know they’ll sound amazing once mastered. Doing these reference checks have saved me quite a bit of back-and-forth with mastering engineers.
Great post. Number 1 was one of the first things I learned when getting into recording. Number 2 I’ve been playing around with a lot more since watching your YouTube tutorial on high pass filtering. And Number 3, I can probably work on that. Thanks again for the awesome tips.
Hello!
Could you please tell me where to find the video you mentioned? Thanks in advance.
Agreed, #3 is the most recent addition to mixing. Even though I have bus compression, I automate the input gain so that the choruses are louder than the verses with the final chorus/end about a half dB over anything else in the song. Unless the end should be quieter for dynamics.
thx for the very specific tips–>explicit is very useful to me!
You are the Andrew Cramer of audio. Great tips.
Very helpful tips. Quite easily the most consistently useful info when it comes to music as a passion (or as our wives call it, obsession)
Thanks so much Paul.
Excellent article, keeping things simple and clear as always
Great job
James
I have been trying t download the free copy of your book, but cant seem to locate it, can you please send me the link.
Thanks
yvonneJ
I just emailed you the link.
The mix sweetening is something that has totally changed my songs. I thought it was something that was fun to do but not necessary. Instead, I found that it’s something I really need to got that something “more” to my songs!
I’m glad it’s helped. It really is a critical and helpful part of the mixing process!
I am mixing for a CD that will be mastered by a more experienced engineer. I have mixed all of the songs with some compression on the master fader and some with a light ambient reverb on the master. Do you usually strip these away after you complete your mix when working with a mastering engineer?
Hi Tom, I never take off anything on my master fader (other than a limiter) when prepping for mastering. To me the light compression, EQ, whatever is part of my mix.
Hello!
Thankyou very much for your suggestions and tips! 🙂
I want to comment on #2: On the one hand, I do agree that high pass filtering can (and very often will) make your mix clearer. On the other hand, I think that a low cut filter for bass guitar and kick drum may help as well.
This is what I often do: for the very low instruments (i.e., kick drum, bass etc.), I set up a low cut filter at a really low frequency – perhaps somewhere between 20 and 40 Hz.
The reason I do so is that those lower frequencies do influence the loud speakers’ response: even if you (the human listener) can’t hear the lower frequencies, the loudspeakers have to “produce” them – this may take away some “energy” from the speakers, perhaps weakening other low-frequency-parts.
(I’m sorry if this explanation is not technically correct – I just have to put in my words.)
In addition – if you use hi Q on the HPF you will boost the selected frequency, which can be useful for a kickdrum (to get more “woof”).
I use a high pass on the kick and bass guitar. Usually between 35 and 65 Hz with a bump right above.
Thanks man, this 3 points (especially the third) may seems obvious but it’s sooo important !
The first two steps I do I every mix almost exactly like you. The last step depends on the raw material. When I write the song myself I try to make the song interesting before I put it to tape. But if I mix for a client it all depends on how the song is sounding.
What are anyone’s thoughts on HPF on the bass and kick? Something mellow, maybe at 20-40k? Can that help match them up a bit?
Great tips for sure. Compression in the buss was an ah-ha moment for me. Thanks for sharing.
Sometimes I go as high as 80-100Hz with HPF on bass, depending how does the kickdrum and guitars sound. But when I do so, I prefer low Q on the filter, do retain some depth in the mix.