Getting the mix right
We could write entire special editions of about mixing (and indeed we have), but here we’ll sum up the key considerations for mixing a typical house tune, based on what we’ve created thus far.
The driving energy of a house track always comes from the low frequencies, so the kick and bass are usually a great place to start. These parts usually occupy similar frequency areas, but must always work together. Above all else, avoid clashing low frequencies that muddy the track – pick one part to dominate the sub region (4060Hz), and make sure the other slots above (80-120Hz-ish). Luckily, this track’s bass is pretty sub-light, and works with our weight kick from the get-go, so there’s little EQ work to be done.
Similarly, you should always make space in the midrange frequencies, to allow the various elements to shine. In our track, we have several parts competing for space already, so things could get messy fast. Rolling off the top end of the bass will allow the higher frequencies of the string and chord layers to shine through. Likewise, we can rebalance the energy between the two parts by highpassing the string and chord layers, stopping them from clashing with the bassline in the low-end.
Digitally-produced tracks sound much cleaner than their analogue counterparts, so consider a bit of distortion to capture that gritty, old-school sound. Gluing the drum group together with some warm distortion would work well at this point, and some saturation can bring other musical elements a touch of crunch.
For cohesion and depth, we can place our parts within a virtual acoustic environment by applying reverb or delay to each element. Send all tracks to the same reverb return for unity, or dial in differing amounts of diverse ‘verbs and delays to stack up contrasting ambience, avoiding a dry and lifeless mix.