1. If you want a louder mix you have to make your mix sound wider. #panning #enhancing #delays #reverb This will make sure that there is still room for all elements in the track. It additionally makes more headroom and more potential outcomes to build the sound level.
2. In the event that you encounter hard circle cutting amid your creation procedure.
Make a chronicle of your sound examples in your undertaking envelope.
This is a choice most DAW’s have.
After that, it’s no more!
3. When mixing vocals on top of a drop make sure you duck the volume of the lead synths a couple dB on where the vocal is. This way the vocal will always stand out even in the busiest parts of the track.
4. Stereo Imaging: This is an unconventional tip.
Bounce your finished lead to audio. Duplicate the track.
Filter all the low frequencies (at least everything under 500 Hz) of the duplicated lead.
Put a stereo enhancer with a touch of hall verb on it. And take the volume fader down.
Now gently mix it back in until you feel you have made a wider lead sound.
5. Kick Vs Baseline
On the off chance that you make a bassline orientated track you should utilize a shorter kickdrum. So there is more space for the bass. You don’t really need to remove the low from the kick since it’s short in any case. In any case, the kick works better when it has more ‘tock’ 80-120hz.
At that point after you included your bassline and blended it in with whatever you utilize (compressors, eq, entryway, sidechain and so forth.) and you are as yet not content with the low end. At that point, you could cut everything beneath 50 or 60 Hz on that bassline and include a standard sinewave underneath it with a similar midi example and put a lowpass filter on the sinewave to just keep the low end. This, for the most part, sounds a considerable measure more tightly and hotter!
6. Layering Synths:
In the event that it’s important to layer synths, you can utilize this as a decent beginning guideline.
– low recurrence bass layer: give those the same Att, Dec, Rel as the fundamental synth. So they are in a close match up. frequencies between 50 Hz – 500 Hz
– primary synth: the synth which you think offers energy to the reprieve or drop. frequencies between 500 Hz – 5kHz.
– character sound: a sound in the high freq territory which will give you lead that bit of additional character. Could be anything from a piano to a congregation chime 5kHz and higher.
Ensure you have volume control over these three layers and mix them together until the point when you got a warm capable sound.
7. Cool FX
This works best on a vocal yet you can utilize this on everything.
Take a bit of an audio sample. Turn around the example (so it plays in reverse). At that point apply some long tail reverb on it. Render it. And after that Reverse it back once more.
Incredible for presenting break songs or start off for vocals.
8. Taking control of your mixdown.
At the point when your blend is getting a bit ‘messy(i)’ it really is ideal to reroute your tracks to a few gatherings.
Endeavor to keep things sorted out and partition your blend for example into; Kick/Beats/Bass/Leads/FX/Vocals.
Along these lines, you will recapture simple control over your volume settings (in addition to other things) previously entering the last mix buss.
9. Mid-Side EQ – Stereo broadening – Mastering.
Some EQ Vst Plugin have the capacity Mid-Side. (Fabfilter Pro-Q, Ozone, Voxengo, etc..). This will part up to your sound signal into Mid (all the mono data) and SIDE (all the stereo information).
Along these lines, you can Equalize the mono and stereo stuff from a similar flag separately.
You can for example support the high freq on the stereo data. This will give somewhat more extensive sound.
It’s likewise less demanding to cutoff low freq from The SIDE while keeping up the ones from the mid. Along these lines you make more spotlight on the low end of that flag.
You can utilize this procedure better than average while acing or while making layered synths.
Endeavor to contrast ordinary EQ and Mid-Side EQ and hear the distinction.
10. Vocal Mixing :
Vocal Mixing is something I don’t care for :- )
However, there is an essential that I frequently utilize.
Utilize a touch of pressure to try and out the volume of the track.
For example, with the fabfilter Pro C you can see the measure of pressure and how the pinnacles are compacted which can be extremely convenient.
Reverb: Use a reverb with a pre-postpone which coordinates the bpm of your track. U utilize a pre-deferral to ensure the vocal doesn’t suffocate in your blend.
To figure the privilege pre-postpone you can utilize this equation:
60000 isolated by the bpm. For a 128 Bpm track that would be 469ms for a quarter note. However, I incline toward the sixteenth Note (=117ms)
You can utilize a similar equation to figure the postpone time (or utilize a synchronize catch). Generally, a bit 1/4 note defer gives a decent stream. Ensure you don’t put the criticism to high.
Eq to taste. A body of a vocal regularly lies between 200-500 Hz.
Everything beneath 80Hz you can remove.
Off to Ibiza now! Good fortunes.
Source: Maarten Vorwerk