The 8 most important answers to mixing

As passionate experts in the field of music production, Fabio Buemi and Adam Winchester share their extensive knowledge at BIMM University Berlin. In our FAQ they answer some of the most frequently asked questions about mixing and provide valuable tips and advice. Would you like to find out more about BIMM University Berlin and the most interesting courses? Let’s explore together what makes them so special!

1. What are the key steps to achieving a great sounding mix?

Fabio / A good song and a good arrangement are crucial. And then of course a high-quality recording where everything sounds good. When mixing yourself, it is essential to ensure a good balance and to use EQs, compression and other dynamic tools effectively. The clever use of reverb, delays and the creation of spatiality are also important. This all varies depending on the music genre. I use Avid Artist Mix in ProTools to adjust faders as I listen.

2. How do I make sure my mix sounds good on small listening systems like smartphones?

Adam / I often use a slight saturation of the subbass to create harmonic overtones in the lower midrange. If the bass is too deep, it can be lost on small speakers. In this case, I either add another layer that plays the same part or create harmonic overtones with subtle distortion. For sub-basses, I rarely use sine waves, but prefer to filter waveforms rich in overtones accordingly. By sending sounds through my Soundcraft mixer and slightly overdriving it, I can e.g. give programmed elements such as drums a pleasant character and an expanded harmonic range.

3. How do I proceed with mixing if I receive individual tracks or stems?

Fabio / I have a mixing template with busses for drums and other audio groups, VCA faders and effects like reverb. First, I import all the tracks and create the basic routing. For me it is important to start with a foundation to build on. I usually start with drums, followed by bass and the melodic instruments like guitars, synths, pianos. The singing always comes at the end. I find it easier to find the right place for the vocals at the end. Of course, a lot of automation comes into play during the mixing process.

4. What do you have to bear in mind to make vocals sound good in the mix?

Fabio / First of all, I ensure a clean recording and use EQs to remove unwanted frequencies, especially in the lower mids. I then often apply slight tape saturation to create subtle harmonic distortion and use high-quality equalizers such as Neve or Pultec for more treble shine. This is followed by some compression. If necessary, I work with several compressors in series, e.g. the Distressor and the LA-2A (UAD). For more space and dimension, I use stereo effects and micro delays that subtly add width to the vocals. I‘m not a big fan of reverb on vocals, but a touch of it gives them more space. With a suitable predelay I like to create a little space between the vocals and the reverb tail. After fine-tuning the sound, careful automation is crucial to the end result. So that the singing is present everywhere, I adjust the volume of each individual word.

5. How do I make my mixes sound good in the club?

Adam / For this it is very important to have the low frequency range and the groove - i.e. drums and bass - under control. These elements move the air in the sound system and make people dance. You have to make sure that there are no competing frequencies in the bass range. Decide clearly whether the weight should be on the kick drum or the bass so as not to overwhelm the sound system and the audience. In bass-heavy music such as Drum & Bass or Dubstep, the emphasis is more on the bass, while in Techno and House the kick drum is emphasized. Also be careful not to emphasize the sub-bass too much. With a large system, the sub-bass doesn‘t have to be that loud to sound impressive.

6. What can you learn from the hit productions of artists like Billie Eilish?

Fabio / Many of Billie Eilish‘s well-known songs only use a few musical elements and leave a lot of space for the vocals. The low end is very prominent and there isn‘t that much going on in the mids. Most of the time you won‘t find much more than the vocals. That‘s one of the reasons why the vocals sound so direct.

Adam / A good mix is characterized above all by emotion and feeling. Of course, that also depends on the genre, but ultimately the most important thing is that the song triggers something in us. Sometimes recordings made on a four-track tape recorder sound more convincing than overproduced studio mixes. It‘s about the vibe and the feeling the mix gives you when you listen to it.

7. Should I separate production and mixing? Fabio / It worked for me. I encourage my students to complete their productions and move to the mixing mindset. When producing something, you tend to get bogged down and ask: Do I need another element? Do I need a synthesizer sound or another melody part? When you mix it, you realize that you don‘t need any of that. It‘s more likely to leave things out than to keep adding new things. Once you settle on a sound, the mixing process is usually easier.

8. How do I give my drums more punch and character?

Adam / To give drum sounds like kick and snare a good amount of attitude and punch, I like to use the Universal Audio 1176 Compressor. Sometimes I use subtle saturation to bring sounds more into the foreground. And occasionally I reach for a Bitcrusher to recreate the charming lo-fi sound of old drum machines. When the drums need more weight, presence or fullness, I use subtle parallel compression: I send the drum group to a parallel bus and compress it heavily with an 1176 and then mix the result quietly into the drums. ⸬