My favorite way of mixing is called “Top Down Mixing”.
The benefits are clear: you mix faster, use fewer plugins, free up computer power, get a more natural sound and have more confidence along the way.
Today I’m showing you how to use the concept of Top Down Mixing with the stock plugins that come with PreSonus Studio One.
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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. 
Thank you for sharing this. It is subtle and at the same time is a very huge difference.
I know this is not related to audio but how do you zoom in those portions of the screen? What screen recording software are you using? Thank you again.
It’s called Screenflow
Thank you for sharing this information. I find myself referencing you videos more and more. I do have a question about my mixes. I try to keep my tracks at -10 dB to head off any digital distortion. All of the instruments and vocals seem to set in the mix properly and flow well together. But, my master tracks are raging at -3 dB and my final mix down is low in volume compared to songs that I reference. (Professionally recorded) Any suggestions on what I may be doing wrong? Thanks-Matt
Your final mix is not mastered – that is why it is quieter. You need limiting to increase the level of your mix to compete with professional masters.
Hey!! Thanks for doing this in studio one!! Please do more in it if you can!!
And thanks for answering my question in t
last months vip call about consolidating in studio one….
Nice! Thanks Graham, this helps out a lot. I have a mix in mind to try this out on pronto.
As an aside, I’d love to see more Studio One videos!
Were the tracks also devoid of reverb, delay? In other words dry except for guitar effects?
Hi Graham,I get the concept and the technique, however, whenever I send my bounced session to my mastering engineer he asks that all processing on the master buss be taken off. So if one makes their final mixing decisions based upon plugins on the master buss, then they are taken off for mastering, doesn’t that just make the mix fall apart when sent to the mastering engineer?
The answer is “yes”. This is how mixers without any musical balance in their skill set mix. Set a limiter on the final output and drive the mix into that. The balance will be horrid when the limiter is taken off, most of the time. I agree with you, I agree with your mastering engineer. This is not good advice as far as I’m concerned. ….and I’m a founder of 3 successful, accredited media arts colleges in the USA, and made many RIAA awarded hits. I feel “qualified” to make this comment, professionally speaking.
Dont’ listen to your mastering engineer when he says this 🙂 It’s bad advice. All mastering engineers WANT when they say this is NO LIMITING on your mix and please LEAVE HEADROOM. Which you totally can do even while mixing this way.
I’ve been mixing music professionally for 30 years. I have always mixed into: EQ (6dB high-pass at 40Hz), Comp (1-2dB gain reduction) and now that I am in the box 100%, a tape emulation just lightly kissing the red on the tape’s VU meter.
My peaks are around -7dBFS, my averages are around -16dBFS.
Not one of the 3 mastering engineers I use regularly ever complains about stuff on my master bus – honestly, they don’t know, or care, they have plenty of dynamics to kill and headroom to EQ.
Hi Graham,
I’m sure you are already aware of this…but the “Fat Channel” in Studio One also has several really great alternative EQ’s and compressors such as an emulation of LA2A and 1176. As well as a wonderful emulation of the Pultroonics EQ and others. So there’s a lot more to that Fat Channel then just the stock plugins.
MMmmmmmmm….By starting with limiting on the Master Buss output you are “fooling yourself” somewhat. I’ve mastered many creative projects for CBS, that’s what I do all day. (20 songs per week) I so do not appreciate when I get a mix that was not well balanced in the first place because the mix engineer simply limited it heavily. My approach is nothing like this. I say get a great sounding mix FIRST, THEN put add to the master output because you’ll work that limiter FAR less with a great balance already in the pocket. Sorry to disagree, but I don’t like this idea. It fools the mixer into thinking it’s sounding good. Basically, what you are doing here is to master it prior to being mastered. ACK!! Take off those master plug ins. Get a great mix, limit it a bit but not crazy, then hand it off to the Mastering engineer. Give him some freakin’ HEADROOM to work with and please don’t limit the darned thing to the point it’s almost impossible to “shine up” in mastering. I know, I know, sorry to bust this. I’ve been mixing hit records for 40 years, many gold and platinum RIAA awards. Please don’t mix like this. Sorry…
I don’t think Graham had the limiter tuned on though, did he? Or the gate…just the compressor and eq
+1, the limiter is not engaged in the FC…
I don’t do any limiting on the master fader. And I always leave plenty of headroom for the mastering engineer. This has nothing to do with adding gain, but tone shaping.
Like your tutorial and eager to learn to improve.
Hi Graham, Thanks for using Studio One in your video. More tutorials with Studio One please. Cheers
as usual sir, your work is inspiartional – thanks – deano
Thank YOU