MIXING PHILOSOPHY

The Mindset Behind a Truly Great Mix

Thomas Juth

Copyright © 2024, Thomas Juth Mixing Philosophy: Mindsets Behind a Truly Great Mix Ribbledox Publishing

Editor: Sue Vander Hook

Book Cover Design: Alvian Imron

Proofreading, valuable feedback, and general support: Fredrik Juth, Robert Juth, John Eloff and Cecilia Fraga.

All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying or other electronic or mechanical methods, without the prior written permission of the author.

ISBN: 978-91-527-5642-3

Before We Begin

If you enjoy this book and want to continue your journey of learning and discovery in the world of music production, there will be more ways to connect with me:

Studio Tea Break Newsletter: Join my weekly newsletter, Studio Tea Break, available on my website: thomasjuth.com. Every Wednesday, I will deliver three fresh mixing tips straight to your inbox. It will be a small but powerful sip of knowledge to keep you inspired and informed.

YouTube Channel: Be sure to visit my YouTube channel, where I will share video content each week. Dive deeper into the art of mixing and music production with in-depth tutorials, discussions, and insights. Channel name: Thomas Juth

As we dive into the pages of this book, I hope you will find it both informative and inspiring. The journey of mastering the art of mixing is ongoing, and I will be here to help you every step of the way.

The Art of Mixing Series

Explore the world of audio mixing with my series of eBooks, collectively known as "The Art of Mixing." Dive into the following four books to master the craft:

The Art of Compression: Learn the secrets of dynamic control and how to shape your sound with compression techniques.

The Art of EQ: Discover the art of equalization and how to sculpt audio frequencies for a polished and balanced mix.

The Art of Creating Depth: Uncover the techniques for adding depth and dimension to your mixes, creating a sonic landscape that captivates your audience.

Mixing Philosophy: Delve deeper into essential mindsets for creating truly great mixes and explore the importance of a well-oiled workflow.

About the Author

I have been working as a Mix and Recording Engineer for the past 16 years. I started my career at Mayfair Studios (London), and later became the in-house Mix Engineer at Kensaltown Studios (the home of producer Martin Terefe). For seven years, I mixed most of Martin’s records and literally lived in that mix-room, in front of a beautiful old API console. I had the honour to work with artists such as Cat Stevens, Elton John, Jamie Cullum, Jason Mraz, Leslie Clio, A-ha, and the Latin duo Jesse & Joy (which would eventually win me two Grammys).

After the Kensaltown years I ran my own studio, Elephant Lane Studios, a place that I set up together with producer and songwriter Michael Bianco. Since 2015 I am based in Berlin, Germany, where I am continuing to mix records on a freelance basis.

The idea of this short book is to share some of the knowledge and experience that I have gathered over the past two decades, and to hopefully inspire aspiring engineers. I will be sharing lots of useful tips, as well as some of my personal views on compression.

Feel free to get in touch, and to share your opinions and thoughts. Hope you will find this book fruitful and enjoyable.

Thomas Juth – January 2023, Stockholm

THE OPENING CHORD

Even though there are a lot of books, online courses and YouTube videos out there that teach and talk about mixing, I haven’t come across many that discuss ‘mixing philosophy’. Most of them focus on mixing from a purely technical perspective, and they often teach you about how to use your DAW.

In my opinion, learning about mixing philosophy and the mindset behind a great mix is equally as important as learning about mixing techniques. Even in my other eBooks, when I do talk about technical subjects, I always try to do it from a more philosophical perspective.

In this book I want to go a lot deeper and look at the actual thought processes that go on while taking a mix from start to finish. Having said that, I strongly believe that there is never just one approach, philosophy, or work method that is correct. This of course relates to anything in life. At the end of the day, it is up to each individual Mix Engineer to form his own work methods and sonic vision.

One recurring theme throughout this book is my view of mixing as an art form, not just an engineering task. It's about transforming technical knowledge into emotional impact, bridging the divide between art and science. While learning to mix, there comes a point when we must set aside our training and simply begin. Your best work emerges when you transition from thinking to feeling, bridging the divide between art and science. It's as though you first master the craft with your brain, gradually transitioning to mixing from the heart. This should be the aspiration for anyone in the world of music production and mixing.

This book will answer common questions that I often get when teaching people how to mix:

What is the best way to get started with a mix?

What is the key to becoming a truly great Mix Engineer?

What is my own personal approach and philosophy to mixing?

How does one know when a mix is finished?

How much time should one spend on a mix, and what is the best way to divide the time?

What are the things one should really focus on, and must improve when learning how to mix?

It is my intention to make this book fun and easy to read. I’ve also included short mixing tips called Soundbites. They are quick, useful tips I've gathered from years in the business. They're designed to provide rapid insights just when you need them. I also encourage you to subscribe to my weekly Studio Tea Break Newsletter for exclusive tips, insider tricks, and valuable resources.

As you turn the pages of this book, I hope you gain insights that make a difference for you. Whether you're just starting out or have been mixing for years, there's something new to learn. My goal is to make that learning journey clear and enjoyable for you. Let’s jump right into it!

Happy reading! Happy mixing!

Thomas Juth
Gothenburg, Sweden, October 2023

Email: thomasjuth@gmail.com

Chapter 1:

It’s All about the Vibe, Man!

A great mix is like a piece of art. It's never just one thing that makes you fall in love with it. A great mix is also like a great city. It's not just about the buildings. It’s also like a person, and it's more than just their facial features. It’s the whole package, and often it's the things you can't put into words. We call it charisma, atmosphere, and vibe.

Sometimes we even love something not traditionally considered beautiful. Maybe it’s the contrasts and rough edges that make it magical. And maybe we shouldn't try to dissect it. The moment we think we've figured it out or continue to demand perfection, the magic is gone. If it's compelling, let it be. Enjoy it.

This principle holds true for music and sound. When a mix feels right, let it be, and move on. It might not be technically correct, but if it feels good, it’s great. It's all about the vibe, man! I often feel that people put too much importance on correctness and focus exclusively on achieving the perfect mix. That mix can be perfectly “correct” according to textbook standards and look great on your spectrum analyzer. It can sound impeccably balanced but still completely miss the point. Music must make the listener feel something. That is all that matters. Music is nothing more than emotions and energy presented to us as waveforms.

Take "Song 2" by the band Blur, a mix I've always loved. John Smith, the engineer behind most of Blur's work, once shared the fascinating back story with me. Created from a jam session and mixed in just a few hours, the track was raw and spontaneous. When the A&R team heard it, they decided to release it as is, feeling it was impossible to recreate that unique energy. "Song 2" became a global hit and remains iconic. This fast workflow isn’t for every song or genre, but for "Song 2," it was perfect.

Vibe is a frequent topic among mix engineers and producers. I once worked for Martin Terefe who loved quick, rough mixes. He adored the spontaneous and edgy, and keeping up was a challenge. We engineers often overpolish and overthink, losing that initial vibe. Over time, I've learned that sometimes less technical perfection can mean more emotional resonance.

Trust me, this skill takes time to master. For anyone learning the ropes, focusing on how to maintain—not lose—the vibe is crucial.

Chapter 2:
Amplifying Emotion: The Essence of Every Mix

Let’s dig deeper now into what mixing is really all about on a fundamental level. What is the main purpose and goal when mixing? What makes a mix great? Forget hunting for “secret tips.” What you need is to listen deeply to each song and understand what it needs emotionally. Get that right, and the mix will follow.

No One Cares About Your Mix

When learning how to mix or produce music, there's one important realization that will fast forward your progress and take you miles on your journey toward mastery. And here it is: most people don't really care about your mix or how you produced it. What they care about is the record as a whole and how it makes them feel.

The main part of this is, of course, the song. Then there is the performance, the arrangement, the production, and the mix. When using the phrase "a great record," I’m referring to the sum of all these elements and the overall emotional impact they create together. Most listeners—“normal people,” as we call them—will not know why a particular record moves them. Very few people care about great sound or the subtleties of audio. They simply connect with the record on an emotional level.

A great mix is part of this, but we should never separate mixing from the whole. It’s a team effort of all the elements, and the sum must always be greater than its individual parts.

Mixing Your Own Music vs. Mixing for Others

When talking about what mixing really is all about, it is important to make two clear distinctions. There are people who mostly mix their own music/productions and those who mix other people’s music/productions—people like me. Even if both are fundamentally similar, there are also some major differences.

First, when mixing your own music, there is only one person involved—you. You are the source of everything and the one who had the original vision. It is your music, and you know what it should sound like and where it is going. So, most of the mixing process is a dialog between you and yourself, and you can pretty much do whatever comes to mind. Also, there is less of a distinction between the production and the mixing phase. They often blend into one process.

But when you're mixing for someone else, the dynamics shift significantly. It's not just about your own preferences or what you think sounds excellent. It's also about honoring the work that has come to you. Often, the songwriter and the producer have the initial vision for the song, and you've been enlisted to build on that foundation. Think of it like a relay race. You're the so-called anchor who is responsible for the final 400 meters after taking the baton from the previous runner. Your role is to finish strong, enhancing and amplifying what has already been set in motion without losing the essence of the original piece. That requires a unique set of skills and a special mindset. If you are a mix engineer working primarily with other people’s music, the key aspects of your job will include the following:

Evaluating the song and materials you've received, focusing on sonic quality, arrangement, and the emotional "narrative" the song and production aim to convey.

Developing your own nuanced vision for the track, considering both its sonic and emotional aspects, all while aligning with the initial vision set by the producer and artist. Your job is to reinforce and elevate what's already there rather than redirect its course.

When I speak about vision, it’s not about hearing the final mix in your head or anticipating every step. Much like life, an overly rigid plan can stifle creativity and obstruct workflow. Instead, a vision serves as a compass, guiding you toward where the song aspires to be. Often, a song takes unexpected turns, evolving into something slightly different than initially intended. The same principle applies to using sonic references or inspirations, which can help but also hinder if given undue weight. A vision or reference should act as a guide, not an inflexible rulebook.

The Role of the Rough Mix

The rough mix is another crucial element. In a collaborative setting, it serves as the preliminary canvas that the producer—or whoever came before you—has sketched. It's like a snapshot that captures the state of the track at a certain point in time. Think of it again as a relay race. There must be a seamless handoff of the baton. Operating without a rough mix can be like dropping the baton near the beginning of the race. It will be hard to catch up and have a chance at winning. You're left with minimal clues about what the artist and producer originally intended.

A well-crafted rough mix provides the mix engineer with a general sense of balance, effects, and the overall mood the artist has approved and been listening to. It's an important source of information, guiding where the track is headed and perhaps should go. It may also offer clues about the artist's preferences and elements that should be maintained in the final mix. Many fail to recognize the wealth of information and direction embedded in the rough mix and produce a final product that feels disconnected from its roots.

If you manage to accurately capture and amplify the essence of the original idea, clients will recognize your insight and keep coming back. If you are someone who generally mixes your own productions, all of this will still apply, but it will be an inner dialogue from beginning to end. You probably won't have a rough mix as a reference, but you will follow your inner idea, vision, and compass.

SOUNDBITE 1

Mixing Wisdom: Knowing when to Adjust and when to Let Be

People often ask me if I have any secret tips for mixing. Honestly, with eighteen years of experience, I can say there are no real shortcuts or hidden tricks. Sometimes it's the simple truths that hold the most power—what I like to call "mixing wisdom."

There are many such pearls of wisdom, but one stands out as fundamental. It's not so much about what you add to the mix; it's about what you leave untouched. That's what separates the pros from the beginners.

As a wise person once said, "Knowledge is knowing how to use an EQ; wisdom is knowing when to use an EQ and when to leave things as they are."

Chapter 3:

The Importance of Focus

If there is one thing I would like you to learn from this book, apart from the importance of emotional impact, it is the importance of “focus”. In this aspect, the art of photography and the art of mixing are both very similar. A truly great photographer instinctively knows how to frame a picture, and he pays attention to what should be in focus and what shouldn’t. All my favorite photos are the ones that have a clear story and focus, where the eye is automatically drawn to something in the photo. On the other hand, if you look at a photo which has no sense of depth or focus, it instantly looks less compelling.

Emotional impact hinges on clarity of focus, both musically and sonically. From the start, there needs to be a sharp focus that everyone involved should maintain and refine to the final master. So, how do you boost the emotional impact of a mix? There is, of course, no easy or simple answer to that. After all, that's why mixing is more like art than science, and every song is different.

A big part of it has to do with taking what is already there, bringing it out, reinforcing it, and creating emotion. There are countless methods to achieve this, and we will look at a few practical examples—to just scratch the surface. To make a music mix more emotionally powerful and engaging, your role as a mix engineer is like that of a guide. You help direct not just the listener's feelings but also their focus, ensuring that they stay connected to the song. It’s your job to take the listener on a ride, presenting them with a vivid soundscape and a clear “story.” You get to decide which parts of the music should stand out at different moments. You do that by adjusting the volume, tweaking the tone of the sound, adding effects, and controlling where sounds come from in the speakers.

It's like saying, "Listen to this, focus here, now here," as you manipulate the sonic environment. Using volume automation, panning, EQ, effects, and compression, you are seamlessly highlighting some elements and pushing others more to the background. Even if listeners can't explain why, they won’t be moved emotionally by a messy, unfocused mix.

In terms of music, the focus of a song must, of course, be decided from the very start. Both the songwriter and the producer should have had this in mind, and this is what separates the average ones from the great ones. Even if a song has 200 tracks in it, a great production must have some kind of clear focus and storyline in it. It is important that some of the instruments or elements have extra importance and weight than others. Otherwise, you are simply presenting the listener with a gigantic wall of sound. Having said that, Phil Spector knew how to use this to his advantage and was able to create “walls of sound” that were still pleasing to people’s ears.

As a Mix Engineer, part of the job is to listen to the song and production and then decide the right approach to narrow this focus down even more. Most people would get confused or lose interest if you play them a piece of music that has too many focus points at the same time. It is like if you cooked dinner for a friend and put 100 different flavors on the plate, rather than a few carefully chosen ones.

An example: Let’s imagine a typical modern pop song. There might be a lead vocal, a simple beat, a simple bassline, a few subtle synth lines, and backing vocals in there. In this case, it’s quite easy for the listener to know what to listen to. However, play the same person a more complex piece of music. Now we might have guitars, strings and a horn section, a lead vocal, backing vocals, and a drum kit, all fighting for attention. The song was hopefully produced and arranged in a way, so that each instrument doesn’t play all the time and without dynamics. But often it’s the job of the Mix Engineer to really emphasize this and feed the listener with a blend that is pleasant and exciting to listen to.

This can be achieved by using volume, EQ, panning, or adding effects that draw attention to a specific sound. There are even times when I completely remove parts of a production while mixing, if they don’t fit into the mix. It’s of course important to consult the producer first.

Building a Mix from the Core and Up

Back in 2007, I was given the golden opportunity to assist the legendary Mix Engineer Tony Maserati for a month. Of all the things that I learnt from Tony, the most important ones were related to how he approaches and builds his mixes. His main strategy when starting a new mix was to build it from the core and up, like how one would build a house. When building a house, one would never focus on the decorations first but instead on the core and the foundation of the house.

The first thing Tony would do was to decide what four or five elements of the song are most important. These elements should be so important that if you removed everything else from the song, the song and production would still make sense. This could, for example, be the drums, bass, a keyboard, and the lead vocal, or anything which makes up the foundation of the song. If one first focuses on making the core elements of each song sound great, as a unity, it is then easier to build the rest of the elements around the core. This also makes sure that the most important parts of the production get maximum spotlight and focus.

Dynamic Focus

Another important aspect of working with “focus”, and which often separates a decent mix from a truly great one, is the use of ‘dynamic focus’. Dynamic focus basically refers to dynamically shifting the focus point around in the mix.

Let’s say that you are working on a mix, and you decide that the lead vocal and the acoustic guitar should be the main focus of the song. You also decide that the rest of the instruments should simply be background sounds, to give the song depth and a specific vibe. You may decide to simply leave the mix like this, very static and without too much volume automation. This is of course fine in some situations, especially when the performance is extremely dynamic, and the performer is so great that he by himself can keep the listener captured all through the song. However, and more often, it’s the job of the Mix Engineer to emphasize or create movement in the song. This can be done by automating the volume of the other instruments in the song (the ones that were placed in the background), and momentarily making them the focus point.

For example, you might have a piano in the back of the mix, which is barely heard. If this piano suddenly plays a few interesting parts, and you feel that it adds something to the song, it’s important to bring those up. By doing so you have momentarily shifted the focus of the entire song. During another part of the song, you might choose to bring up an electric guitar for a few seconds and shift the focus momentarily.

This is a great way to create more movement in a song, and to give the listener a more dynamic and interesting listening experience. Purely static mixes can work in some occasions (for example, if you were mixing an artist like Bob Dylan) but, it’s most often the dynamic and the more interesting mixes that are the most successful.

Experience over Theory

The things I've mentioned are largely things you can't learn in a traditional way. No one learns how to write a song or a good book just by taking a course or reading about it. These skills must be acquired through personal experience and practice. Yes, there are many courses and books out there that claim to teach you everything you need to know about production and mixing, promising to turn you into a great engineer or producer. But the only true way to learn this art form is simply by doing it. There will be hours of deep reflection, continuous experimentation, and attentive listening. Over time, you will reach that crucial point when the brain makes way for the heart, when everything you learned becomes part of your subconscious.

Next, I’ll discuss an aspect of learning to mix that involves slowly upgrading your mental firmware. The more you engage with it, the more “colors” you'll start to hear, enhancing your ability to listen intensely.

Chapter 4:
Emotional Impact: Practical Examples

Before we move forward, let's explore a few practical examples of how to enhance and intensify emotional impact through mixing. It's important to note that this isn't a complete guide. There are numerous approaches to achieving this goal since every song has its unique character. Don't hesitate to experiment with various techniques to discover what resonates best with your music.

Example 1: What You Don’t Do Counts!

There’s one important thing people often forget when trying to make a song better. Don’t ruin what's already good. It’s like food choices—eating good food and avoiding bad food in order to be healthy. It's the same with mixing a song. Some people do too much and make the song worse. A good mix should make the song better but keep what's already good about it. Think of it like giving a massage. You want to make the person feel better, not worse.

Example 2: Dynamic Range

You'll often hear this about epic songs, which contributes to their level of epicness: it’s is how the mix engineer manipulates the dynamic range. Done masterfully, this can create an extra level of excitement for the listener. They'll feel like the song is expanding, growing, and gradually filling their soul more and more.

While much of this effect has to be achieved during the performance and production, it can also be emphasized in the mixing stage. A lot of it comes down to allowing the song to start quietly and making each progression feel louder. Toward the end of the song, you'll want to fully “open the tap” and let the music flow freely. One secret is to know how to make things sound small and avoid making everything loud and “in your face.” You'll also want to learn how to do the opposite—make things appear loud, explosive, and massive. By mastering both approaches, you can play with dynamic range and build your mixes up gradually. Make sure to inject contrast into your mixes, giving the listener reference points from which you can then deviate.

As always, the only way to master this technique is through practice and hands-on experience. Experiment, observe people's reactions, and then experiment some more.

A lot depends on skillful use of volume automation, compression, EQ, and reverb.

Example 3: Panning and Stereo Imaging

The placement of elements in the stereo field can also change the mood of a mix and the way it resonates emotionally. For a dreamy, ethereal quality, you might want to pan some elements such as background vocals or a soft pad far to the left and right. For more intense, focused moments, you could bring everything closer to the center. If you want to create a sense of chaos, try automating pans so they swirl around. You can even make a mix feel bolder and edgier by panning things in more unconventional and extreme ways such as moving the drums or a solo instrument fully to one side.

Example 4: Effects and Textures

Use reverb, delay, and other effects, not just as technical tools but as emotional ones. A snare drum with a long reverb tail can add a sense of grandiosity, while a dry, up-front vocal might feel more intimate and confessional. The type of reverb you use will also create a certain emotional response in the listener. In fact, choosing the right reverb is crucial for setting the mood in a song.

Reverb is more than just an effect; it's like painting the atmosphere of the track. Some reverbs can make a song sound nostalgic or sad, while others add a fresh and light vibe. Using the right reverb can turn your track from simple to epic, making it sound as grand as a vast landscape. It's almost like adding another instrument to the mix, creating an echo that shapes the song's identity.

As mix engineers, this choice is significant because it's one of the only things we actually add to a production. For that reason, I almost see reverbs as another instrument, another layer of sound. I personally love the EMT 250, which gives a beautiful and epic sheen to synths. I also love the Valhalla reverbs, my go-to reverb for vocals. Interestingly, it is also one of the most affordable and versatile reverbs out there.

Example 5: Balance between the subtle and the bold

Another effective technique when mixing is creating contrast with subtle and bold treatments. For example, sometimes you may want to apply very subtle, small volume changes in a song. Other times you may want to bring things up very boldly. You can apply that to adding effects, panning, EQ, compression, or saturation. Another really powerful thing you can do is suddenly bring in a massively compressed sound into a fairly clean sounding mix.

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Example 6: Contrasts between loud and quiet, dry and wet

This example is somewhat connected to Example 2, but I would like to highlight how impactful contrasts can be in a mix. This is not just in the context of dynamic range but in every other way as well. Experiment with contrasts between wet and dry, clean and distorted, narrow and wide, subtle and bold. The more you surprise your audience, the more you will keep the listener engaged.

SOUNDBITE 2

Plugins vs. the Reel Thing

People often ask me, “Do I need to buy expensive analog equipment, or can I just use plugins?” Seeing someone with lots of gear in YouTube videos can make this choice feel stressful.

Here is my answer and how I view it.

Most listeners enjoy music for its emotional pull, not its technical specs. They won't know if you're using a vintage piece of equipment or a digital replica. What matters most is the song's feel. Analog devices have a distinct warmth that some professionals swear by. They argue that it gives music a richer, fuller sound. However, assembling a comprehensive analog setup can be expensive and space-consuming.

On the other hand, digital plugins are more accessible and versatile. With a computer, you can access a multitude of sounds and effects, often at a fraction of the cost of analog gear. Plugin technology has advanced so much that it sometimes mirrors analog quality.

In essence, both have their merits. Analog provides a timeless sound, while plugins offer flexibility and variety. What is the best choice? It depends on your needs, budget, and personal preference. But remember, a song's heart, not the gear behind it, is its most vital element. Whatever you choose, focus on the music.

Chapter 5:

Mixing: A Five-Stage Process

I see mixing as a five-stage process:

Understand the story and vision. Where is the song trying to go? What emotion and story is the song trying to convey?

Analyze what you have been given and what is in front of you, both from a purely sonic and an emotional perspective.

Ask yourself this: how do I bridge what is and what it should be? What needs to be done based on the global vision, and where I think it needs to go?

Translate this into action and reach for the right tool.

Evaluate the processes. Did my actions bring it closer to the vision and make it better? If not, back-track and start over. Analyze. If it worked, move forward.

This process applies to almost every aspect of mixing, whether it is simple balancing, EQ, compression, or applying effects. It is the constant process of analysis, action, and evaluation—again and again. In many ways, this process is identical to someone who is painting. It all starts with a vision in your head, perhaps a certain color that something should be. You ask, “How do I get that color?” Then you try blending colors to get the color you are looking for, and finally you analyze the outcome. There is a constant conversation in your head as you go through a process of trial and error. You mix, evaluate, back-track, and blend some more. “Nah, that blue is not deep enough. Let’s add more green color to the mix.” At some point, you look at it and just know. “That’s it!” And then you move on.

It’s important to mention here (and I will get back to this several times in the book) that mixing is often about doing nothing. What if what you have been given right out of the box is so great and so right? What if you bring up the faders, and it just blows you away. The sound, the song, the performance, the production—it is all just perfect, and it gives you the chills. This is where most newbies go wrong, and the lack of experience leads people to a common trap. Rather than just focusing on balancing what is there, gently massaging it a bit, and then leaving it alone, over-ambitious engineers get into the dangerous area of over-mixing. Suddenly, what once gave you the chills sounds lifeless and flat.

Okay, so you have a track in front of you, and you totally get where the artist and the producer are trying to take it. You can also hear what is needed. Now what? Let’s focus on the connection between your ears/mind and your tools. This is another step that takes a lot of practice. How do you know which EQ, compressor, or processor to reach for? How can you avoid getting into endless scrolling of plugins and not get stressed by all the options?

Let’s look at that in the next chapter. It all starts with why and knowing your equipment as well as a painter knows their color palette.

Chapter 6:

The Art of Subtlety and Boldness in Mixing

In the dynamic world of audio production, the emotional impact we seek often comes from a spectrum of choices. Those choices range from bold, in-your-face moves such as heavy compression and saturation to the nuanced and delicate manipulations that play with the inherent character of audio gear. Striking that balance is a craft—an art form—that engineers, producers, and musicians spend years perfecting.

One issue that many aspiring engineers and producers seem to have is that they can’t hear compression. That causes them to over-compress things just so they can hear it. However, when dealing with the more subtle aspects of audio, we are often not supposed to hear it the same way. That is the whole point. Sometimes we are dealing with very small tweaks. It’s like adding small amounts of spice to our food to boost the flavor. Tweaking the audio eventually adds up to an audible difference across the entire mix.

While bold choices in audio manipulation can be instantly gratifying and easy to discern, subtlety requires a completely different skill set—deep listening. Deep listening is not merely hearing but involves an active, sustained form of attentiveness. Getting to this point requires a lot of experience and practice. It is a bit like a gradual upgrade of your ears and mental firmware.

Learning to listen as a sound engineer is like learning a new language. At first, you might only catch the basics. But as you become more fluent, you start to pick up on the nuances—the slang, the idioms, the subtle jokes. In the same way, an experienced sound engineer hears not just a kick drum but the specific kind of compression used on it. It's like your brain has downloaded a language pack that lets you experience music in a way that's richer and more nuanced.

If you want to master the art of mixing, immerse yourself in music, and focus intently on the nuances and complexities within the soundscapes. Try to hear everything that's happening. Pay attention to how it's all put together. Think about how the mix makes you feel, and ask yourself why that is.

I also recommend practicing deep listening in your daily life. For example, when you're walking home or sitting at a café, focus on the sounds around you. Try to figure out where they're coming from and what they sound like. This practice can help you get better at mixing music.

With consistent practice, you'll begin to perceive the micro-dynamics, the tonal nuances, and those faint traces of reverb that might go unnoticed to an untrained ear. Understanding these subtleties allows you to make more informed choices, providing you with the tools to develop your own unique sonic palette.

In the coming chapters, we will dive deeper into the techniques and mental models that can help you understand this balance better. We'll explore how to apply both the bold and the subtle in harmony to create audio compositions that are as complex and multifaceted as human emotions themselves. Whether you're adding a splash of vivid color or a barely there tint, remember, it’s not just about the moves you make but how you listen to their impact that defines your artistry.

SOUNDBITE 3

Mixing With Your Eyes

In the world of mixing, our ears usually take center stage as the primary tool for understanding sound. However, we shouldn't underestimate the importance of our eyes, especially when it comes to reading meters. Visual cues are not mere extras; they are a fundamental part of a good mixing process. Having a reliable set of meters for each song is crucial. Learning how to "see" your mix involves practice, time, and some experimentation. The goal is to develop a consistent workflow using a set of meters that work best for you.

There are numerous types of meters available—phase meters, frequency spectrum analyzers, loudness meters, to name a few. Each offers unique insights, and choosing the right ones often boils down to personal preference. I rely heavily on VU meters, checking them at specific intervals to ensure that everything is proceeding as planned.

When I combine the visual feedback from these meters with the auditory information from the speakers, it enables me to make better choices, resulting in more robust mixes and improved work quality.

Chapter 7:

EQs: More Than Just Boosts and Cuts

Let's continue down the path of audio gear and the topic of coloration and subtle character. Even though this could apply to audio gear in general, let's look closer at equalizers. What takes the longest time to learn for a beginner is hearing subtleties in audio. That is one of the gateways to mastering the art of mixing. For those looking to dive even deeper, more advanced discussions around EQ will be covered in Part 3 of this book.

The Multidimensional Role of Equalizers

When you first dive into the world of audio engineering, EQs might seem like straightforward tools—simple devices to boost or cut specific frequency ranges. However, as you dig deeper, you'll discover that EQs are far from one-dimensional. They are the Swiss Army knives of the audio world, and they can do more than just alter frequencies. They can shape the very character of your sound.

Debunking a Common Misconception: All EQs Are Not Created Equal

One common misconception, particularly among newcomers, is that all EQs are created equal. That could not be further from the truth. Sure, the built-in EQ in your digital audio workstation (DAW) can do the job, but once you experience the unique personalities of specialized EQs—especially analog models or their digital emulations—you'll realize there's a whole new world to explore.

Why does this matter? Think of an EQ like a set of paints. Basic colors such as red, blue, and yellow will allow you to create a picture, but imagine what you could do with an expanded palette that includes various shades and hues.

The Unique Coloration of Analog EQs

Analog EQs (or emulations of analog EQs) often provide a warmth and richness that purely digital EQs might lack. They often have a character, personality, and color of their own. That comes from the unique circuitry and components in analog gear, which introduce harmonic distortions that can be musically pleasing. In the digital world, plugin developers have gone to great lengths to emulate those characteristics.

Some EQs add a more obvious character to the audio, while others just give you a very subtle color. For example, boost the same frequency range with a Neve 1073 and an API 550A, and you will get a different result—a different tone. The goal for any audio engineer or producer is to reach the point where they start to really know their gear from that perspective. You start associating your gear with certain color and character, allowing you to start “painting” with your EQs.

The Technical Specifics: Types of EQs and Their Functions

Of course, choosing a certain EQ is not just about warmth or tone. Each EQ type—parametric, graphic, or shelving—has its own quirks and benefits. A parametric EQ allows for surgical precision, letting you hone in on specific frequencies. Graphic EQs offer a more visual approach, providing a range of preset frequencies you can manipulate. Shelving EQs are great for broad adjustments, allowing you to boost or cut the high or low ends in a sweeping manner.

The Artistic Side of EQs: Beyond Just Frequencies

To truly master EQs, we must go beyond merely knowing which frequencies to boost or cut. It's essential to understand how each EQ shapes sound in its unique way. So the next time you reach for that EQ knob, remember, you're not just altering frequencies; you're painting with sound. By embracing the variety and depth of EQs available, you elevate your mixing skills from mere technical execution to artistic expression.

Crafting Your Personal Audio Palette

Let's continue down the path of exploring coloration using the metaphor of a painter. We’ll examine the importance of putting together your own color palette of gear. When you understand your tools and the colors they bring to your audio canvas, decisions become second nature. That allows you to focus on the creative aspects of production.

Chapter 8:

Create Your Own Sonic Palette

For anyone who wants to master the art of mixing, it is crucial to build a close relationship with audio equipment, whether it’s hardware gear or plugins. As you become more experienced, you will start to develop a collection of go-to tools—similar to a trusted set of colors on a painter's palette. This isn't a static list; it will evolve as you work on different projects and acquire new tools. The aim should be to gradually start treating your tools as an extension of yourself. That is something you see among professional musicians as well.

Imagine a guitar player showing up at a recording session with their collection of guitars, amps, and pedals. This is their sound palette—gear they know inside and out—that allows them to effortlessly blend a certain desired tone. As a music producer or audio engineer (yes, this applies to both recording and mix engineers), this should be your goal too. The less you need to stop and think and the less time you spend scrolling through massive amounts of plugins as you’re lost in indecision, the better. Instead, whenever you get a vision in your head, quickly reach for the correct “paintbrush,” and start blending colors. Not only will it remove confusion and speed up your workflow, but it will also become your sound.

Here is the bottom line. You never want your gear or tools to get in the way of your creativity or slow you down. Whenever you get a vision for how something should sound, reach for your palette of colors and start blending. Your color palette can still be large and complex. The important thing is that you know each color well and can move effortlessly.

So the big question is this: how do you achieve this? Unfortunately, there's no shortcut to expertise. You need to dedicate hours to experimenting with various tools. While you're getting hands-on experience, you're also updating your mental firmware, fine-tuning your instinct for what each tool can do.

Chapter 9:
Always Ask Yourself Why

Something that has helped me throughout my career—while learning, while designing my sound palette, while working—is constantly asking why. Yes, asking yourself why before doing anything is a great way to connect the five steps mentioned at the beginning of Chapter 5. It will constantly remind you that every action must be preceded by analysis and followed by evaluation.

Too many people reach for a plugin by default or because they have seen it in some YouTube video. This is the wrong approach. Instead, stop and ask yourself, “Why am I reaching for this plugin?” If your answer is "I don't know," then stop in your tracks, and don't add that plugin. Knowing why you are doing something is a very important part of being an audio engineer. If you don’t know why, it is much better to leave that sound alone.

For the sake of this chapter, let's apply this approach to compressors. Let's say you are working on a song and have decided to add a compressor to the lead vocal. You stop and you ask yourself, “But why?” The answer to that question will most likely be one of these five responses:

To simply control the dynamics of a sound (or overall mix) in the most transparent and precise way possible without hearing much of the compression.

To give a sound more texture, character, depth, and richness. I may want to enhance or inject some life into an otherwise flat sound, often in more subtle ways.

To reinforce a certain emotion in a vocal or other sound. I can use compression to make something sound more intense, urgent, aggressive, or intimate. This is similar to response number 2 but less subtle and used more boldly.

To reinforce or reduce the transients of a sound to give it more punch.

To bring out the ambience and certain nuances of a recording, thus giving the sound more liveliness or excitement.

To not only help analyze different compressors but also to make it a crucial part of my firmware update. It is also what will eventually help me put together my own sound palette. That, in turn, will propel me to new heights on my journey toward understanding the art of mixing.

Of course, choosing the right compressor for each job is only possible if you first know what type of "flavor" each compressor brings to the table. I like to categorize compressors into two main groups:

Those that aim to be transparent and colorless where the main goal is to control the dynamic range as effectively as possible without audible artifacts.

Those that are just as much color boxes as they are compressors. They do the same job as the ones above but with an added amount of personality and character. Some of them are very colored, while others provide a much more subtle quality.

AN EXAMPLE OF HOW TO GO ABOUT THIS

So now what? Answering that question will help you come to the conclusion that the lead vocal needs more texture and character, and it needs to come forward. You want a more in-your-face sound. What is the next step?

Now is when you will reach for your collection of compressors—your sound palette. Just as the painter who has decided they need a certain blue, you can start blending. You might have a go-to compressor that is especially great for giving that in-your-face sound. You might have another one that gives the texture you are looking for. Perhaps you decide to use them both in a parallel configuration, along with a bit of the uncompressed signal. That is where mixing really becomes an art form—when you start blending several tools together and create new colors and tones. The combinations are endless.

Later in Part 3, we will dig a bit deeper into the subject of compression. Not only will we cover the basics, but we'll also delve into my specific approach to using parallel compression when mixing vocals.

SOUNDBITE 4

The Power of Randomness

Many people think success comes from carefully following a plan or a set of routines. While that's partially true, especially in a field like mixing where flow and routine are key, there's also room for what I call "accidental, spontaneous creation."

Imagine tossing a dart at a map just to see where it lands. That sense of curiosity, that willingness to let go for a moment, can open up new possibilities. This approach is especially useful when you're learning something new, whether it's learning a language, learning to paint, or mastering the art of mixing.

Take Chris Martin of Coldplay, for example. When he was writing the song "Yellow," he got stuck on the main line of the chorus. Then he saw the yellow pages in a phone book and on a whim used the word yellow in the song. Just like that, he broke through his creative block, and a hit song was born.

I've found the same magic in my mixing work. Sometimes I've accidentally opened a plugin, and that "mistake" led me to a sound or an idea I would have never thought of otherwise. So while structure and planning are important, never underestimate the power of randomness.

Chapter 10:

How to Make the Chorus “Pop”

In the world of mixing, the chorus stands as the song's heartbeat, often demanding attention and evoking the strongest emotions. How, then, do we make it pop? How do we give it that extra bit of impact?

The key lies in contrasts, but there's another dimension—expanding the space. Imagine the chorus as a room. To make it stand out, this room needs to feel wider, deeper, and taller than the verses. The listener should feel a tangible shift in space, almost like walking from a cozy room into a grand hall.

Widen: Widening your mix uses stereo enhancement, placing instruments in strategic pan positions and thus enveloping the listener.

Deepen: Depth can be achieved with reverbs and delays. It’s about creating an auditory perspective. Foreground elements are drier, and background elements carry a sense of distance.

Tallness and Frequency: The concept of “tallness” might seem abstract. But in mixing, it refers to expanding the frequency response. Boosting high frequencies offers air and clarity, while enhancing the lower end gives richness and gravity. The chorus should feel like it's reaching both higher and deeper into its sonic space.

A pro trick to master this expansive chorus is to first learn how to do the exact opposite—make the music sound smaller, narrower, and closed in, particularly during the verses. By doing so, not only does the chorus have room to grow and surprise, but there's a more noticeable sonic journey, compelling listeners to lean in. When the chorus eventually hits, it feels like a release, a burst of expansive energy after the constrained verse.

Certainly, volume plays a pivotal role in this dynamic. By mixing the chorus to elevate in level, we're not just manipulating sound but also crafting a narrative. In pop music, the objective often morphs into an escalating crescendo where each chorus aims to outshine its predecessor. While much of this growth stems from production, the mix shouldn't be a passive bystander. It has to enhance and amplify this progression.

One approach is to compress the final chorus slightly more than the rest of the song, making it audibly louder and more energizing than the previous choruses. And introducing a tad more top end to the concluding chorus can evoke a sensation of further expansion, leaving the listener enveloped in a more profound auditory expanse.

Remember, while contrasts between verses and choruses draw attention, it's the expansion of the chorus's space that leaves a lingering impact. It's not just about making it louder; it's about giving it room to breathe, stretch, and soar.

Chapter 11:

Trust Yourself (and the Power of Limitations)

My interest in music and sound has been there since early childhood, largely inspired by my dad, Robert. He is a guitarist, singer, and lover of music. He introduced me to a world of music and audio equipment. In more ways than one, he's been a big influence in my life, including my love for travel and adventure.

It was 1995 in Umeå, Sweden, and the Internet was still a luxury we didn't have. Information was hard to come by, and the local library had only three books on audio engineering. All of them were outdated, from the 1970s and 1980s. But I devoured those books and tried to learn as much as I could about recording and mixing.

Fortunately, my dad had a wealth of knowledge about audio equipment. He had an uncanny ability to explain complicated subjects in simple, easy-to-understand ways. Whenever I was stuck, he sat down with pen and paper to sketch little diagrams that helped me understand things such as the threshold of a compressor or the difference between its attack and release times.

One memorable day, he surprised my brother and me with an 8-track TASCAM PortaStudio that used cassettes. The excitement was electric, and this gift transformed our lives. For the next five years, we spent our time creating and recording music in our basement—our very own creative haven. Those were the days before digital audio workstations (DAWs), so everything was done using analog methods. When we needed special effects, we turned to guitar pedals or anything else we could find. That was my foundational experience in the world of audio engineering.

Growing up in this “old world” of tape recording had its benefits. One of the most important lessons was learning to commit to decisions. Tape offered limited tracks, forcing the engineer to be decisive and resourceful. This limitation often led to a technique called “bouncing,” which means reducing multiple tracks down to a single one, thereby freeing up space for more recordings. This was essential when you had only a limited number of tracks to work with. You could also shape sounds on the way to the tape and were often forced to make critical decisions in the middle of a recording session. All this required a high degree of trust in your own ears, judgment, and instincts.

In contrast, modern DAWs offer almost unlimited tracks and options, which can lead to a tendency to postpone decisions. Today's audio engineers and music producers have an overwhelming array of plugins and tools at their disposal. While this abundance is something to be grateful for, it can also become a source of confusion, slowing down the workflow and stifling creativity. The freedom to endlessly tweak sounds can result in a cycle of self-doubt, which is detrimental to the creative process.

So what is the remedy to this creative paralysis? In our current environment of virtually limitless options, it may be beneficial to intentionally impose limitations on yourself, especially for those who are new to the field. I am not suggesting that we should go back to working with tape or that things were better before. At the same time, it is super important to be aware of the problems that having too many options can lead to.

On top of simply having this awareness, you should practice making decisions while you work and avoid postponing them. That fosters self-confidence and helps build trust in your own abilities. When you're hired as a mix engineer or music producer, you're automatically in a position of leadership. Building confidence is essential for stepping into this role and being successful. People turn to you for your expertise; they expect you to have the answers. The more you trust your own judgment, the more others will trust you, leading to more opportunities and collaborations.

As Rick Rubin put it perfectly, “Understanding how you feel in the face of other voices without second-guessing yourself is probably the single most important thing to practice as an artist, or skill set to develop as an artist, is to know how you feel and own your feelings."

SOUNDBITE 5

Know What is Possible

Working in audio mixing or production often means teaming up with others. Sometimes you get audio tracks that aren't well-recorded. Learning to deal with this is key to being good at your job.

Here's how to handle it in three steps:

Find the Problems: First, figure out what's wrong with the track. Know what you can and cannot change.

Fix or Accept: Do your best to improve what you can. For the things you can't fix, just accept them as they are.

Talk to Your Team: Let your team know what you've found and what can be done. This helps everyone know what to expect in the end.

Remember, whether you're mixing or producing, you're part of a bigger process. The end product will only be as good as the weakest part. Knowing how to handle this well makes you a pro, not a beginner.

Chapter 12:

The Art of Balancing Subtractive and Additive EQ

In the audio engineering world, EQ is often likened to the process of sculpting. However, unlike a traditional sculptor who only subtracts material, an audio engineer has the luxury of both subtractive and additive methods. Though I usually focus on removing unwanted sounds when I mix like Tony Maserati does, sometimes I also add a bit of EQ for that extra touch, like putting a cherry on top of a sundae. It's the balance between these two techniques that often defines the difference between a good mix and a great one. Let’s dive into that a little more.

How Subtractive and Additive Complement Each Other

As much as subtractive EQ focuses on attenuating annoying frequencies, additive EQ shines in enhancing what's already great in a track. When done skillfully, additive EQ serves to add richness to the mix. It’s as though the subtractive EQ lays the foundation so the additive EQ can sprinkle its magic. They are not mutually exclusive; in fact, one often paves the way for the other.

For instance, if you've carefully applied subtractive EQ in the low-mid frequencies around 250Hz and 500Hz to rid your mix of muddiness, you can use additive EQ to emphasize the resulting clarity. Highlighting the upper mid-range with a touch of boost around 2–5kHz, especially using a characterful EQ like the Neve 1073, can bring out the presence in vocals and guitars. Equally, a subtle addition in the high frequencies can add that ethereal "air" to synth pads or leads.

An interesting aspect of subtractive EQ is its ability to create an illusion of additive EQ without actually boosting frequencies. Dipping around 250Hz with a wider Q-value can result in a mix that seems to have more presence around 3kHz without the need to boost that region. So even within the realm of subtractive EQ, there are methods that mimic the results you might get from additive EQ.

Combining Tools and Techniques

When it comes to subtractive EQ, I tend to work a lot with EQs such as Waves Q10 or FabFilter Pro Q3. They are both very surgical and transparent tools that are perfect for making small dips here and there. I usually focus on gently (with a massive emphasis on gently) reducing annoying frequencies throughout the mix without going too far. I always start by sweeping around, like I mentioned in the last chapter, looking for troublesome frequencies. The goal is to clean up the soundscape and get rid of mud or harshness.

This also prepares the ground for later adding that “cherry on top” using colorful EQs, preferably an emulation of high-end analog gear. Among my personal favorites are the API 550A, the Neve 1073, the Harrison 32C, and the Trident A-Range. These classic character EQs can then be used to add spice and flavor to individual tracks. Whether I'm attenuating or boosting frequencies, each EQ serves its role in the chain, contributing to the mix’s overall sonic palette.

Caution! Achtung!

While all these methods and tools are effective, they're not universal solutions. Knowing your listening environment is crucial since a poorly treated room can make even the best EQ moves sound off. It's also easy to get lost in the process, ending up with a mix that's either too thin or too exaggerated. Regularly stepping back and reevaluating your choices can help avoid these pitfalls.

Final Thoughts

Remember that EQ, whether subtractive or additive, is just a tool. The real magic lies in the hands of the engineer and how these tools are applied to serve the music. Subtractive EQ is about refining and purifying the sound, creating a clean canvas. Additive EQ, on the other hand, is about enhancing and ornamenting that canvas. Mastering the balance between these two approaches can be your gateway to achieving mixes that are both clean and characterful, as well as spacious yet full of life.

Chapter 13:

A Lesson in Low End: How to Avoid Blowing Out Speakers

One aspect of EQ that many people find challenging is

dealing with the low-end frequencies. It's also an area that took me a while to get the hang of. I became a mix engineer quite suddenly and had to learn it on the job. Believe me, I made plenty of mistakes at the beginning, and some of them even ended up in the final releases. These experiences can be tough, especially when you realize your mistakes later and find yourself unable to fix them. But just like in life, it's all part of the learning process. One of these experiences happened to me in 2009, a mistake that taught me valuable lessons.

It all happened suddenly on a sunny day in March in Gothenburg, Sweden, while visiting my family. I had left London the night before after finishing a mixing a project for a big Swedish artist. It was still early in my career, and getting to mix his album was an honor. At the same time, being fairly new and green, I felt a massive responsibility and nervousness. He had specifically asked me to give his album a big low end.

The music had its roots in 1970s soul and funk but with a modern touch, and the artist wanted his songs to work on a dance floor. Inexperienced as I was, I thought to myself, Oh, okay. Let’s just boost lots of sub frequencies and add a 40Hz sine wave to the kick drum. More is more, right? Four weeks later, the record was mixed and mastered, and everyone was super happy. We had a massive party in the mix room one night to listen to the brand-new masters, and people were dancing and singing along. I felt proud, and my mission was complete.

A couple of days later, I left London to see my family in Gothenburg. As we always did, we decided to make a quick visit to Bengans Record Store, the local music shop. The first thought that entered my head was, Oh, I know this song. That is when my heart stopped. It was one of the songs that had just been mastered, the song people had been dancing to a couple of nights before. But how? Records usually take months to come out after they are mastered, and each release is preceded by a long promotional campaign. There was no way a record shop in Sweden could have a copy of something I had finished working on just days before! Later I found out that the artist had leaked the song, something unheard of, especially when it is such a big artist.

The confusion was reaching its maximum peak when the worst shock came. Hearing my mix, which had been mastered by a well-known mastering engineer at Sterling Sound in New York, I immediately knew something was wrong. The massive excitement I had felt before this moment sank like a stone, replaced by despair and disappointment. The entire shop was vibrating as we walked in, and there was a massive and uncomfortable amount of low end filling the air.

The mix, which sounded so great in my studio, sounded awful in that shop. In my ears, it was unlistenable. Of course, it is worth mentioning that they had a sub speaker in the shop and that it was unnecessarily loud. At the same time, all the other music sounded fine. My face was probably pale at that point, and I managed to explain to my dad that this was something I had just worked on before leaving London. He looked as confused as I was.

Over the following days, I discovered, to my horror, that this problem was not isolated to just sub speakers. Even on my Apple earphones, it was noticeable. In fact, whenever the kick was playing, they were distorting. Considering the importance of this project, I silently panicked, and it kept my brain occupied for a week.

I did everything I could to convince the artist that we should remaster the album, which would have given me a chance to fix the problem. I did not tell him the full story, but I said that I felt there was too much low end. He just replied and said he loved it. The record probably sounded great on the devices he had checked on, just as it had in the studio. The album remained this way and still has this problem, that the record distorts on smaller headphones and risks overpowering any space where there are sub speakers.

So what went wrong, and what did I learn from it? What is the moral of the story? First, I blamed mastering, but then I took a hard look at my own methods.

I should have checked my mixes on as many devices as possible, and then I would have noticed the issue. I stuck mostly to my studio speakers and ignored the importance of reference listening on multiple systems.

More is not more when it comes to low end. Be careful. Getting a fat low end is not about pushing it as much as possible but about having just the right amount. The low end also is about the lower mids, and lots of fatness comes from here. So it is not always about subs.

It's not crucial to use a sub speaker when mixing unless you are going for an unusual amount of sub. When you are deliberately pushing it that much, having access to a sub is important. That allows you to monitor what is going on and to be extra sure it will translate to a club-like environment. There are also other ways to visually keep track of the lowest sub-frequency content of a mix, something I was not doing in those days. For example, you can rely on frequency spectrum analyzers or any multiband compressor with a visual representation. Using a multiband compressor as a limiter for your low end is always a great idea.

Filtering out low end and only inviting one "special guest" into the sub area is important. Not allowing other instruments to muddle up the sub frequencies can make a world of difference.

At the start of this chapter, I emphasized the challenges of mastering the low end, especially for beginners. It's vital to understand that achieving the right mid-range is equally challenging, if not more so. The mid-range serves as the mix's heart where most of the instruments find their voice. Here, your mix has the potential to sound full and robust. But tread carefully—this is also where it can easily become too congested.

A common oversight is not recognizing how the mid-range profoundly influences our perception of the low end. It's not solely about those deep, booming sounds; it also encompasses the slightly higher frequencies such as the low mids. A common mistake people make is carving away too much from the low mids or, on the flip side, not successfully controlling what remains. Just like general mixing, this requires a fine touch. It's akin to walking on a tightrope—tilt too much to either side, and you'll lose balance.

Controlling the lower mids largely involves avoiding boominess. That can be best addressed with careful subtractive EQ and multiband compression. Another tip when working with the low mids and the mid-range in general is to make clever use of panning. The center of the mix is usually the first to become congested, so spread your sounds out to avoid overloading the center channel. However, it's essential to ensure you don't go overboard with spreading the sounds.

In summary, when refining the low end, never neglect the mid-range. It holds importance, not just for booming sound systems but arguably even more so for smaller devices that might not fully capture those deep bass notes. Remember, while many instruments resonate with primary tones in the low or high ends, their harmonics often lie in the mid-range. Give those harmonics the clarity and representation they deserve, and you'll be well on your way to nailing that perfect, fat low end.

Chapter 14:
Beautiful Dirt – Working with Subtle Saturation

Now let’s look at one of my favorite parts of engineering, the art of adding richness, depth, and texture to a mix. This is a topic that may be difficult for some beginners to grasp, largely because it is an art of subtleties.

Understanding Saturation: More Than Just Distortion

When I say saturation, most people probably think of distortion and something very aggressive and edgy. Yes, I love using saturation for this, too, and sometimes even go crazy with it. However, there is another way to work with saturation that relates more to gentle coloration. I refer to it as adding “beautiful dirt” to music.

People who are used to working with photography or video are probably used to doing similar things to images. By adding small amounts of grain and saturation to a sound or an image, you can achieve a wide range of outcomes—warmth, richness, or even perceived brightness. It all depends on what type of saturation you are playing with and in what amount. It is like a world of its own. Often it can be so subtle that the effect is felt more than heard, and when applied to several tracks across an entire mix, it starts to add more audible spice.

This is not intended to be a debate between analog and digital. Instead, let's focus on the importance of saturation in mixing as a tool for adding richness and enhancing the emotional impact of a track. This gentle saturation is often associated with analog equipment. For instance, you can achieve various types of “beautiful dirt” by simply running your sounds or the entire mix through a tape machine or different pieces of gear.

I sometimes use analog consoles for this purpose. I run an entire mix through a vintage console just to capture its subtle coloration. What you're essentially doing is adding small amounts of saturation and what's called harmonics to the sound. It's somewhat like applying a vintage filter to a photo, introducing a light touch of grain. Of course, most people don't have access to such expensive “toys,” but similar results can be achieved with plugins (analog emulations). Additionally, there's a wide range of analog coloration devices available on the market today. One of those is Rupert Neve's Master Bus Transformer. It has one primary function—to add the right kind of “dirt” to your mixes.

One source of such saturation, the warmth you get from analog gear, comes from a component called the transformer. You find transformers in older analog gear, and along with the tube, they were a big part of getting “that sound.”

Most of this revolves around what is known as second-and third-order harmonics, also referred to as even and odd harmonics. Even harmonics sound fat and warm, but they can sometimes be muddy and soft. Odd harmonics are harsher and edgier. A pure square wave gives only odd harmonics. A pure sawtooth wave provides both. And a pure sine wave has only the fundamental. Both transistors and tubes produce even and odd harmonics, dispelling the popular misconception that transistors produce only odd harmonics and tubes produce only even ones.

Understanding these nuances is key to achieving depth and life in your mixes. It's an area that takes time to master. The goal is not to add noticeable distortion but to subtly enhance the recordings. I won’t go deeper into this to avoid getting too technical. But I recommend reading more about it.

The Modern Shift: From Analog to Digital

Mix engineers often must deal with extremely clean-sounding recordings and tracks. Part of the job involves finding ways to compensate for the lack of "dirt" and character. This also entails recreating what was lost when the world transitioned from analog recordings—tape and analog equipment—to digital setups, often referred to as "in the box."

For many years, a lot of engineers and producers continued to use analog equipment and mix through analog desks. Today, the trend is clear. More and more people are moving away from analog equipment. Even the legendary mix engineer Michael Brauer, known for his wall of analog equipment, recently sold his equipment and is now mixing purely in the box.

In the old days when tape was the primary recording medium and before the advent of computers and DAWs, every recording naturally received a healthy dose of dirt and harmonics. That added much-beloved analog depth, warmth, and excitement to older records. Everything passed through layers of tubes, transformers, and other analog components, often running through multiple tape machines.

It was impossible to avoid this, even if you wanted to. Today, of course, recording and mixing are entirely different. This shift has created a whole new market for tape simulations and other so-called saturation plugins. Some plugins do a better job than others in replacing what we lost in the digital transition. In my world, these types of plugins are essential for achieving great-sounding mixes in the box. Using them correctly has almost become a new art form. It's easy to go overboard and create distorted, oversaturated mixes instead of adding subtle fatness, character, and depth. I refer to this desired outcome as "beautiful dirt," and it's an aspect of mixing that I invest a lot of time in.

Saturation as a Form of Subtle EQ

Another interesting aspect of subtle saturation is its potential use as a form of subtle EQ. Many times when I've wanted to make things more present and brighter, saturation did a better job than boosting frequencies with an equalizer. There are no exact rules or guidelines for this; it's more about trial and error. One tool I find useful for this is the Waves Abbey Road Saturator plugin, although there are many similar tools out there. Adjusting its settings to add the right amount of harmonics or saturation can result in a pleasant and sweet boost in the high mids. This is another way to add “beautiful dirt” to a sound.

SOUNDBITE 6

GAIN STRUCTURE MADE SIMPLE

People often think that understanding gain structure in audio is hard, but it's actually really simple. You can even sum it up in a quick soundbite. Don't be scared off by the fancy term. It's easier to grasp than you might think. It’s the shortest explanation of all time.

Gain structure is all about managing your sound levels from start to finish. You kick off by setting the initial volume on your microphone or instrument just right—strong enough to rise above any background noise but not so high that the sound distorts or "clips" (becomes too loud and distorted).

As the sound moves through other gear such as mixers or effects, you adjust their settings, too, keeping everything in that "just right" zone. If you mess this up, your sound could either get lost in the background noise or become distorted. Therefore, doing gain structure right is key to getting the best sound quality possible. I can sum it up in just one sentence. Gain structure in audio mixing refers to the optimal management of audio signal levels at various points in an audio chain, from input to output.

Chapter 15:

The Yin and Yang of Mixing – Why You Need a Boombox in Your Studio

Mixing is all about finding balance. Think of it as life's yin and yang—two opposite yet complementary elements. Mixing isn't just about focusing on tiny details; it's also about stepping back and seeing the big picture. It's not just about using fancy speakers; it’s also checking how your mix sounds on simpler, everyday devices.

Switching Gears: The Micro and Macro

When you're mixing, you have to wear two hats. One minute you're zooming in to fix a tiny sound glitch, and the next minute you're pulling back to see how it all fits together. This same idea applies to your workspace. While it's great to have an ideal spot between your speakers, you should also occasionally listen to your mix from different parts of the room. Why? Because not everyone will hear your music in a perfect setting.

Having a top-notch studio with ideal acoustics is awesome. It can make your job easier and more enjoyable. But don't forget—most people won't listen to your music in a perfectly tuned room. Sometimes you should break the rules. Lie on the floor, and listen to the mix. You might get new insights.

Real-World Testing: The Boombox

Note for Youngsters: A boombox is an old-school portable radio or cassette player. In urban slang, it's sometimes called a "ghetto blaster."

One of the most eye-opening experiences I had was when Tony Maserati brought an old boombox into the studio. At first, I was puzzled. Here we were, surrounded by tens of thousands of dollars of state-of-the-art audio equipment, and he brings in a boombox that looked like it was from the '90s. He carefully placed the boombox in what seemed like a random corner of the room.

"You ever do a reality check?" he asked us as he plugged it in. We listened to the mix we'd been working on, and suddenly it was as if the curtain had been pulled back. What sounded balanced and nuanced on our high-end monitors became almost unrecognizable on that boombox. It took a few seconds to recalibrate our ears and get used to that muddy, small sound.

Tony explained that we were falling into a common trap. We were so caught up in the details that we forgot how most people will actually hear our music. They won’t be in a finely-tuned room. They might be at a picnic, at a house party, or even in their car. That's the brilliance of the boombox test; it's a reality check that keeps us grounded. It forces us to consider how our mix translates in the real world on everyday devices and not just the ideal environments of our studio.

Since then, I've made the boombox a critical part of my mixing process. It doesn’t matter what type of speaker or device you use as long as it resembles something that you find in the real world. I use a modern Bluetooth speaker, one of those portable ones you can bring to the park. Sometimes I even start my mixes on it, dialing in levels and making broad EQ adjustments, and then fine-tune on the high-end gear.

You'd be surprised how many issues you can spot and fix when you're listening on less-than-perfect equipment. It makes your mixes more robust and ensures that they will translate well across a variety of playback systems. I also strongly recommend using one of these small devices, preferably behind you and on low level, when automating your lead vocals. You can make sure the lead vocal is heard even when someone hears your mix on the radio on low level in an everyday setting.

Don't Forget the Headphones

A lot of us debate mixing on headphones. Should you do it? My answer—absolutely. Many people listen to music on headphones, so make sure your mix sounds good there too. Just remember, headphones won't give you the full sense of bass, and they can make the stereo field seem wider than it is.

Once while staying in a hotel, I mixed a Latin Grammy–winning song mostly on headphones and a boombox. When I got to the studio, the mix already sounded perfect. Knowing your gear well, even simple gear, can empower you to mix effectively in various environments.

Key Takeaway

The secret sauce to being a great mix engineer is balance. Strive for a mix that sounds great, not just in a studio but everywhere—from boomboxes and headphones to car stereos. Mastering this balance makes you versatile and ensures your music resonates with a broader audience.

Chapter 16:

The Two Essential Traits for Success in Mixing and Production

During the past two decades, I have had an opportunity to work alongside some extremely talented and successful artists, engineers, and producers. I have noticed that there are two traits and attitudes that most of them seem to have in common. I strongly believe that both are important to any successful music industry journey. I will discuss these traits in a context of mixing, but they can, of course, be applied to music production as well.

Trait 1: Mastering the Dance between Logic and Emotion

Balancing Intellect and Emotion: The mixing process involves an intricate balance between intellect and emotion. One minute you're troubleshooting a technical issue, and the next minute you're diving deep into the emotional currents of the music. This mental agility isn't just useful—it's essential. It is rare to find a job that involves both parts of the brain in such an equal balance. This seamless flow and “dance” between intellect/logical thinking and emotion/artistic flow takes time to master and requires endless hours of practice. I would even say that this is one of the most difficult parts of mixing. Even more, you must be able to jump back and forth between the two states without losing concentration.

Perfectionism vs. Creative Looseness: The same seamless “dance” also applies to many other areas of mixing. One big challenge is finding the middle ground between being a perfectionist and being creatively free. Being a perfectionist is good sometimes. If you're a mix engineer or music producer, paying close attention to every little detail can make your work stand out for its quality. On the flipside, there is nothing worse for creativity than perfectionism. I think it's really important to find a good balance between being detailed and being creative if you want to succeed in this job.

Trait 2: Cultivating a Playful, Experimental Mindset

Successful professionals in the field of music often bear a striking resemblance to mad scientists, fearlessly experimenting and continuously pushing the boundaries of innovation. Much like children, they're driven by an insatiable curiosity and a love for trying new things. To excel in music creation, you must be willing to venture into the unknown, sometimes even embracing the crazy ideas that come to mind. This approach echoes the concept of creative looseness that I mentioned earlier. It contrasts sharply with the structured, rule-based education you might receive in a traditional school setting. Ultimately, what matters most is the emotional impact of the music, how it sounds, and how it makes people feel.

This is something that is very important for me in my work. I like to have fun and be creative with each song. I don't overthink it and just go with the flow. Staying excited and open to trying new things is key for me. I call this a "playground mindset." It helps me avoid getting stuck in fixed ways of doing things.

I view mixing as a performance and always approach each song with a playful attitude. I personally don't think too much while working and try to just have a good time. I generally go with the flow with a relaxed mind and let the music take me where it needs to go. For me, it has always been important to stay excited about my work, keep that inner child alive, and maintain a lust for experimentation. It is what first got me passionate about audio engineering, and it's something I never want to lose. This playground mindset is about breaking free from the this-is-how-it’s-done mentality where everything is fixed inside a box and controlled by rules.

Having this mindset is crucial for learning, growing, and developing faster. When you sit down to learn a new piece of equipment, a plugin, or a new technique, approach it as a child would a new toy. Twist the knobs. See what happens on extreme settings. Explore its potential for unusual uses. While this advice may be metaphorical, don't hesitate to be a mad scientist for a bit.

For instance, when exploring a new compressor, experiment by applying it to various sound sources with different settings. Assess its impact on sound quality, and compare it to other compressors you've worked with. Fearlessly explore it from every angle. By consistently doing this with every “toy” you come across, you'll gradually build your own sonic perception and language, leading to a high level of confidence in your work.

SOUNDBITE 7

When Is a Mix Finished?

How do you know when a mix is finally done? My answer is this. When you stop noticing things that irritate or bother you and instead find yourself smiling at the result, you're there. The mix feels just right, and that's when you can confidently move on. But remember, reaching this point is challenging if you're stuck in a mindset dominated by overanalysis. If that happens, you could end up circling the same projects for weeks.

When mixing, don't actively search for problems or things to adjust. That might sound simple, but it's a critical part of mixing psychology that many people overlook. Listen for what "shouts" at you—the elements that actually need your attention. It's crucial to maintain a certain level of detachment from the mix so you don't fall into what I call "the cave of overanalysis." It’s easier said than done, right? It's a mental skill, one that you'll need to practice over time.

Here’s another aspect of this. The sooner you involve the client, the better. It's easy to get stuck trying to make it perfect. But don't. The longer you hold onto it, the more you'll second-guess yourself. Client feedback is important. Get it as soon as you can. It helps you and makes the client feel involved.

Chapter 17:

Flow
When Songs Mix Themselves

To pursue mental operations to any depth, a person must learn to concentrate attention. . . . But innate talents cannot develop into a mature intelligence [mastered skill] unless a person learns how to control attention.

—Mihaly Csikszentmihalyi

This chapter won't cover everything—there's too much to say about this complex topic of mixing. But my aim is to give you a snapshot to pique your interest. If you like what you read, I hope you'll explore further on your own.

The Importance of Focus in Mixing

Reading Csikszentmihalyi’s quote above made me realize how true it is in the context of mixing (or any creative job). It doesn't matter how much a person knows or how skilled they are if that person is unable to focus their mind. The Internet is full of tips, expensive courses, and technical videos, but the most important tool in a mix engineer's arsenal is their mind—a focused and sharp mind. If you really want to up your game and master the art of mixing, this should be one of your priorities. The people who succeed are, in my opinion, those who put as much focus on developing and training their minds as they do on learning their digital audio workstation (DAW).

The Need for Mental Training

In a world where people are generally fragmented and attention spans are getting shorter, mental training is becoming increasingly important, especially for someone who aims to be a mix engineer. Therefore, my biggest mix tip is this: regularly engage in slow, mindful, and focused activities. For example, read books, practice meditation, listen to music (in a focused way), and go on nature walks without your phone. Avoid social media and other Internet activities as much as possible.

Understanding Flow in Creativity

A word related to all of this is flow. I’ve used it several times throughout this book. Athletes often refer to it as being in the zone. Whether you're a creative person or an athlete, it's about being in an effortless state where whatever you're doing seems to happen on its own. For someone who plays an instrument or writes books, it can sometimes feel like you're in a light trance where creativity flows from a deeper place.

Characteristics of Flow

If you're interested in diving deeper into the concept of optimal experience, I highly recommend picking up Mihaly Csikszentmihalyi's book Flow: The Psychology of Optimal Experience. In a nutshell, Csikszentmihalyi outlines these eight key characteristics of what he calls flow.

Complete concentration on the task

Laser-like focus on goals

The sense that time is either speeding up or slowing down.

Intrinsic reward from the activity itself

A feeling of effortlessness

The experience is challenging but not overly so

Your actions almost seem to happen on their own.

You feel comfortable with what you're doing.

Enhancing Focus and Flow

How can we practice getting into flow, and how can we improve our ability to focus? Without a doubt, regular meditation is one of the most powerful tools and has played an important role for me, both as a mix engineer and in my personal life. I strongly recommend it!

There is a deep connection between creativity and intelligence. I believe that intelligence comes not only from shallow thinking but from a deeper dimension and a state of no thought. This also relates to creativity. The moment we connect with the stillness within ourselves and step out of our thought stream, we can encounter moments of genius or intense creativity.

Problem-Solving in a State of Flow

It is almost as if creativity just shoots out from within. Even problem-solving can sometimes benefit from non-thinking. Often, when we stop thinking about the problem and go for a quiet walk in the forest, the solution comes to us. When your subconscious is allowed to get involved, there are no limits to how creative and extraordinary you can become.

The Journey of Learning to Mix

When someone is learning how to mix, they will engage mostly in shallow thinking and put more focus on mental power. Mixing (or any other skill) becomes exhausting, with a lot of self-doubt and analysis involved. However, as time goes by, you will start to find it easier to get into a state of flow, making your work a lot more effortless.

Achieving Mastery through Flow

Over time, you'll find it easier to return to your analytical thinking mind in short bursts whenever needed and then quickly return to the deeper flow state. When all of this starts to work seamlessly, you'll feel as if you've reached a new level. It's like a guitar player who stops looking at their hands while playing, stops thinking about scales and chords, and starts playing. That's where most of your time should be spent when mixing, and that's how creativity is allowed to take more space.

Chapter 18

The Three Pillars of Creative Success

When we talk about creativity, we often focus on the idea or the finished product—a masterpiece painting, a hit song, or an innovative business strategy. But creativity is a process, and that process is facilitated by three interconnected pillars—time management, mind management, and energy management. This chapter will explore these three aspects, particularly in the realm of audio mixing but also in broader applications for any creative pursuit.

For anyone who aims to build a career connected to creativity and being in a state of flow, time, mind, and energy management are very important. I refer to these as the three pillars of creativity. They are all connected with one another and to the quality of your work.

Time management is something we are all familiar with, so what do I really mean when I say mind and energy management? If you really want to optimize your productivity and creativity levels, you must make sure you are in the right state of mind each day. Even if you manage your time wisely, you will never reach your full potential unless your mind is focused and in a creative state when you sit down to do your work. In short, mind management is about optimizing your resource of creative energy. As sculptor Constantin Brancusi once said, "Things are not difficult to make; what is difficult is putting ourselves in the state of mind to make them." If you want to dig more deeply into this fascinating topic, I strongly recommend David Kadavy's brilliant book Mind Management Not Time Management where he talks about this in more detail.

Most people see creativity as something that just randomly bubbles up from within during a moment of creative madness. Yes, that is, of course, partly true, but it also comes down to making sure you are in the right state of mind. Even though you cannot force creativity, you can at least ensure that you welcome it each day. The better you are at managing your time, state of mind, and energy levels, the more likely you are to be creative. You will also be able to get into deep concentration and focus and stay there for longer periods of time. All these things are extremely important for the mixing process.

For some people, where creativity and deep focus are just part of a hobby, this topic is less important. However, if you are planning to make this your career and have clients to please and deadlines to meet, then having a clear system in place is crucial. You are now part of someone else's project, and they expect you to deliver quality work within a deadline. In other words, there are times when you need to be creative and deeply concentrated (in a state of flow) on demand. That means you must have a clear structure and plan in place to make the best use of your time and energy.

This system must be there to ensure that your energy levels are managed efficiently and that you are in the right state of mind each day. All of this must always start by first knowing yourself deeply. Each mind is unique, and therefore each person must spend time designing their own system. That must start with questions such as these: At what time of the day am I the most powerful, creative, and focused? Knowing this, how can I plan my time and workflow better? What are the things that ignite my creative spark, and how can I ensure that it happens as often as possible?

All these things will later form the basis of everything you do as a mix engineer, from how you manage your days to the finer details of your mixing flow and system. It is all connected. For example, by managing your time well, you will get more hours of quality sleep, which in turn ensures that you wake up rested each day. A well-rested mind is probably more likely to be creative than a mind that is sleep-deprived. Equally, by managing your day and work properly, you ensure that the most important work is always done during your peak hours—the time of day when you naturally feel the most productive and creative.

While some people are more efficient, productive, and creative in the morning, others might have their peak later in the day. It is therefore crucial to organize your days in a way that allows you to do your best work. Never waste those precious hours on mundane things. I get more done in the first four hours of my day than during the rest of my twelve waking hours. That means I always do the most important tasks right after waking up, and leave the least demanding things for the afternoon. This simple rule has been completely crucial to my own journey.

Over the years, I have also realized what a massive impact diet makes on productivity, mental clarity, and overall performance. That has steered me toward eating an extremely clean diet based on foods that are packed with nutrients. I have also eliminated processed foods, refined sugar and sweeteners, alcohol, and other junk from my life. It allows me to wake up in top form each morning, ready to do my best work.

SOUNDBITE 8

Become a Shortcut Ninja

In the world of audio engineering and music production, fluency in your digital audio workstation (DAW) is comparable to a musician mastering their instrument. But why is it so essential? It's not about showing off or some fancy party trick. It’s about creating an unbroken connection between inspiration and execution. Every moment spent searching for a function, every pause to recall a command, is a moment taken away from pure creative flow.

Learning every shortcut your DAW offers, to the point where it becomes second nature, ensures that technology fades into the background. That leaves you, the artist, undistracted and free to channel your creativity. When your hands intuitively fly across the controls, your DAW keeps pace with the rapid twists and turns of your creative mind, allowing ideas to materialize seamlessly.

In short, when you liberate yourself from the mechanics, your focus shifts entirely to the magic of sound creation. Dedicate time to know your DAW inside and out. When technology becomes transparent, creativity shines brightest.

Chapter 19:

Managing the Mix: How to Optimize Your Workflow

So how can all this be applied to our way of working while mixing a song? As a mix engineer or producer, you can benefit hugely from dividing your work schedule into clear time slots and assigning a clear goal and purpose to each of them. This is a great way to combine time management, mind management, and energy management (the three pillars) and increase your daily creative outflows.

In this chapter, I’m going to go through my own way of doing things to give you an idea of what it can look like. I strongly recommend that you design your own plan and system, something that works for you. The purpose of this chapter is to present general concepts and ideas that might help you and inspire your work.

I refer to my own system as my Four-Stage Mix Plan. It usually fits into a five-or six-hour time frame—sometimes shorter depending on the situation. I avoid doing more than six hours of focused mix work in a day. Knowing myself, I tend to lose my focus around that point, and my ears tend to start feeling fatigued. Outside of those six hours, I focus mostly on file handling, emailing, planning, doing revisions, sending files, and doing "softer" tasks. Those tasks are things I can do even when my energy level has dropped and when I am feeling less creative. It is worth mentioning that while this chapter specifically talks about mixing, a similar system and plan can be applied to all other types of creative work.

The Evening Before

Before I start my workday, usually during the previous afternoon or evening, I prepare and set up the next mix (the song I will start mixing the next day). It includes organizing the session, color coding, and making sure everything is in place. It is also a good time to check whether files are missing or if there are any problems. The goal is to have an organized mix session ready to go as soon as I sit down to work the next morning, free from issues and with all the files in place.

This stage of the mix can seem less important than the others, but in fact, the setting up part will actually have a big impact on the rest of the mixing process. The more organized and clean your session is, the less frustration and interruptions you will experience later, and the easier you will be able to move around. Try to always organize your sessions in the same way and keep things consistent. This will have a huge impact on your level of creativity and productivity.

Stage One

During the first stage of any mix, I always focus on learning the song and the production. I spend time listening to the rough mix—the reference mix the artist or producer sent to me. Of course, this is only relevant if you are mixing a song for someone else. If you are mixing your own song, try to take at least a two-day break between finishing the production and starting the mix.

While studying the rough mix, I listen for things that make the song or production special and compelling, and what makes up the core of the song. What is important and what is less important? Remember that you are the link between the person who created the song and the listener, and you need to present the listener with something that has a clear storyline and focus. I always ask myself these questions:

• What do I want to bring forward and focus on even more? Are there any sonic issues in the track that need extra attention?

• What kinds of effects and sounds does the client seem to like?

• What is the storyline of the song, and what will potentially get in the way or confuse the listener?

The goal with this stage of the mix is to make mental notes and form a plan, visualizing where I want to take the song. There are times when this is also done on the evening before and after organizing the files. It all depends on my energy levels and how fresh my mind feels. Now just take a break!

Stage Two

During the second stage, which usually takes about two hours of my day, I get right into full-on mix mode. During this part of the mix process, it’s very important to allow yourself to be 100 percent focused and concentrated. You need to be able to get into a state of flow and remove as many distractions as possible.

Did I hear anyone mention your cell phone and social media? I think it goes without saying that those things can’t be part of your flow. By now you should have a clear idea of what your vision is for this mix and what you want to do. During this stage of the mix, the overall focus should be on the core elements of the mix. I often mute less important elements and instruments at the beginning and try to focus on the fundamental elements of the song.

This is something I learned from Tony Maserati. The whole concept is like a house. You need to build the foundation first before you can add the windows and focus on smaller details. At this point, I might only listen to the drums, bass, main keys/guitars, and lead vocal and leave out all the extra “spices.” When the overall blend of these elements starts to feel great, I take another short break.

Taking regular breaks while working on a production or a mix is, in my opinion, an essential part of the process, just as essential as the work itself. This not only helps keep your ears fresh throughout the day but also makes you more productive and creative. It is often during the breaks when you step away from what you are trying to create that you will have the best ideas or gain clarity. When working with others, it is usually during the breaks that people have time to share ideas and connect.

I love lying down on the floor for five to ten minutes, not only because it’s good for my back but also because it usually gives me a feeling of getting a fresh start. It’s an easy way to get into a new state of mind.

Stage Three

During the third stage, I continue to develop the mix and add the smaller elements. At this point, I might focus more on the details and the spices that make the song unique, such as interesting effects, textures, and sounds. The third stage usually involves less drastic changes and is more about fine-tuning, automation, and making sure everything blends well together.

After a while, I start to realize whether the initial plan I had in mind will work as I envisioned. There are usually some surprises—such as that didn't work out as I had originally planned. But that’s okay! That is how you start to learn from your mistakes or discover something you didn’t initially plan on but turns out to be really great. It is the point where it’s very important to be able to make adjustments and not be too stubborn or set on your original plan. Keep in mind that plans are there to help you, not restrict you.

Stage Four

During the fourth stage of the mix, my focus shifts from a zoomed-in perspective to a zoomed-out one. I spend most of my time listening to the song from start to finish and then make small adjustments. Up to this point, my listening perspective has been mostly zoomed in, moving back and forth. Now it’s time to look at the bigger picture and make sure the mix works as a whole.

This is also the point where I start to prepare the mix for the client, which includes printing stems, doing revisions, and so on. When I feel the mix is about 90 percent finished, I usually leave it and come back to it later in the day or the next day, depending on the schedule.

I want to stress how important it is to create your own solid workflow. This applies to mixing as well as music production. Do this over time, little by little. It involves not only time and energy management but also every aspect of being a music producer or engineer. The more you work, the more you will learn about your own strengths and weaknesses, and you will slowly start to discover what works best for you. One thing I can tell you is that having a well-thought-out plan and a system you can follow—something that works for you—will make the creative process much more enjoyable and rewarding.

SOUNDBITE 9

Mixing Should Be Fun Mixing should be fun, and how you feel while doing it really matters for the end result. This is something everyone might forget, whether you're new or have been doing this for a long time. If you make it hard for yourself and overthink everything, your mix won't turn out well. This is true for all creative work, not just mixing.

Look at great jazz musicians when they perform. They often look happy and even close their eyes while playing. They're not stressing about the next note or any rules; they just let the music come naturally.

Of course, doing this well takes time, and you need to learn the basics first. But you should start working on having this kind of mindset from the get-go. When you sit down to work, aim to feel relaxed and happy. After all, you're making music, and that should always be a fun process.

Chapter 20:

Four Ears, One Vision: The Alliance of Mixing and Mastering

I'll begin this last chapter by making a straightforward point. Mastering your own mixes might not be the best idea. While this statement could spark debates, the core issue lies in our understanding of mastering.

Success in the music industry often comes down to relationships, connections, and teaming up with others. As previously mentioned, collaboration is key to progress. It's essential for music professionals to avoid the trap of trying to handle everything solo. Instead, consider involving specialists in your projects, especially when it comes to the dynamic between a mix engineer and a mastering engineer.

For those diving into the world of mixing, it's wise to establish a good relationship with a trusted mastering engineer. This partnership was once standard. But with many adopting a DIY approach and the influx of new tech tools, the true essence of mastering is becoming obscured.

In this chapter, I'll discuss the potential pitfalls of mastering your own mixes. We'll explore the art of mastering and emphasize the benefits of involving another experienced pair of ears into the process.

The Role of a Mastering Engineer: The Second Pair of Ears

To many, mastering might seem like merely the application of a limiter, EQ, or even just some preset, all with the aim of enhancing the mix's loudness and brightness. Sure, this is often the outcome of mastering, but not really what it is all about.

The job of a mastering engineer is much like the editor of a book. One could, in theory, be both the author and the editor, but that misses the point. The core idea of hiring an editor—or a mastering engineer—is to involve a second pair of eyes or ears in the process, someone who can provide invaluable feedback. Their involvement also adds a constant to your workflow, regardless of where you're working or any changes in your setup.

Your mastering engineer, consistent in their environment, ensures your work is up to standard and offers a fresh perspective on everything you do. Often, what you want from a great mastering engineer is just a thumbs up, someone who says, “It sounds great” or someone who will do what is needed to make it better. A truly great mastering engineer will have a dialog with you and might even suggest that you go back to the mix. This is what you really pay for. In other words, the job of a mastering engineer is to do as little as possible and only what is needed. Those tiny changes or suggestions often have a big impact on the final outcome.

Of course, there are times when budget constraints make it difficult to hire a separate mastering engineer. In such cases, I resort to what I call "fake mastering”—essentially just ensuring my mix is loud enough. Let's be clear. This is far from real mastering and is certainly a world away from the automated AI mastering services that are now available—which I consider a travesty.

Having said all this, a music producer or mix engineer still must have some basic mastering skills. To put it another way, it is important to know how to apply loudness to mixes, just for the sake of getting them approved by the client. Yes, sadly, people expect that even from the first mix draft.

Choosing the Right Mastering Engineer: A Personal Experience

One aspect of mastering that is often overlooked is how much you can learn and develop as a mix engineer by attending mastering sessions. It is almost as if you are paying for education every time you sit with a top-notch mastering engineer while you are also making your work stand out even more.

While I was in London, Geoff Pesche at Abbey Road Studios was my go-to choice for mastering. His approach respected the mix, and he only made changes when absolutely necessary. The essence here is not just about skill but also about building a long-lasting relationship. I learned invaluable lessons about phase and frequency from Geoff, which improved my work over time. Geoff even offered to come to Kensaltown to understand my work environment better, something that is far from standard practice in the industry.

This shows how mastering is more than just tweaking knobs. With Geoff, it felt like teamwork. We were both on the same page, aiming to make the best sound for listeners. It was more than technical stuff. It was about connecting, understanding, and working together to make great music.

Those experiences ignited in me a passion for the art of mastering. Today, I find myself both mixing and mastering other people's tracks. However, as much as possible, I refrain from mastering my own.

Last Words – Let’s Connect

Well, we've come to the end of this book. Thank you so much for hanging out with me and giving it a read. I understand that people may have read it for various reasons and from different perspectives, and I would love to hear your thoughts on the book. Please feel free to get in touch via email or social media. I would also greatly appreciate it if you could spare a few minutes to write an honest review on Amazon or on whatever platform you purchased the book. I hope you got some value from it and that you are filled with inspiration for your onward path.

While our journey in this book has come to an end, the learning doesn't stop here. For those who want to dig deeper, feel free to sign up to my Studio Tea Break Newsletter. Every week, I delve into three mixing tips directly linked to the content we've discussed here. To get these insights delivered straight to your inbox, simply head to thomasjuth.com.

I invite you to connect with me on social media. You can find me on YouTube under the name Thomas Juth. Feel free to drop by! My channel shares a similar focus and scope with this book, combining philosophy, mindset, and success in the music industry. With these words, I conclude this book. I hope you found it informative, beneficial, and enjoyable. Take care, stay healthy, and remember, your journey is just beginning.

Keep pushing forward.

Keep chasing your dreams.

You've got this!

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The Art of Mixing Series

Explore the world of audio mixing with my series of eBooks, collectively known as "The Art of Mixing." Dive into the following four books to master the craft:

The Art of Compression: Learn the secrets of dynamic control and how to shape your sound with compression techniques.

The Art of EQ: Discover the art of equalization and how to sculpt audio frequencies for a polished and balanced mix.

The Art of Creating Depth: Uncover the techniques for adding depth and dimension to your mixes, creating a sonic landscape that captivates your audience.

Mixing Philosophy: Delve deeper into essential mindsets for creating truly great mixes and explore the importance of a well-oiled workflow.

Thank You!

Before you go, I would like to say, “thank you” for purchasing this eBook, and for reading it all the way to the end. I hope you enjoyed it!

I would really appreciate if you could take a minute or two and leave a review for this book on Amazon. Your feedback is very important and will help me continue writing more books.

I would also like to thank my brother Fredrik Juth, for proofreading and for great teamwork.