Melodic Deep Tech House and Techno Mixdown (Part 3)

In this first module, Simon talks about the nature of the mixdown, explaining the most important considerations and obstacles a producer faces, including recommendations on software and hardware to rectify them. He then gives his top mixing tips, to assist in clarifying the key aims of the process and help fellow producers achieve the primary objectives.

Simon begins looking at the all important Kick Drum, focussing on the effects processing initially, to make sure the sound is full bodied and clear, and then bouncing down the stem to help keep CPU usage low. He then moves onto the other kick tracks, which are once again balanced, treated with effects and then flattened to new audio files.

These lessons address the main loops that combine with the kick to form the groove of the track, showing the techniques used to make them ‘team players’. This includes using EQ, multi band compression and panning, as well as overall balancing of levels.

Simon moves on to the other main drum components, those being the snares and claps, paying close attention to the frequencies and alignment of each, to provide all the missing elements to the driving groove and add subtle variation in each bar.

By combining artful EQ and track panning with delay, Simon blends together the high frequency rhythms into a coherent, energetic layer that sits comfortably on top of the mix, whilst adding some pleasing stereo information to the track.

A reminder of the way the 2 conga sounds are placed in the track, with a look at the different automation on each, with regard to panning and send effect routing.

The first module looking at one of the toughest jobs of the mixing process; getting the bottom end right! Simon starts by focussing on the syncopated bass loop, showing the various effects used to bring it out in the mix and remove unnecessary elements, then moves on to level handling by means of compression and automation.

A look at the sub bass track, making sure its content has the relevant frequencies and amount of gain, so that it provides the necessary fatness without treading on the toes of the other kick and bass elements and balancing nicely with the drums and percussion.

Simon moves through the first of the main melodic parts, flattening then forensically analysing the levels and frequencies, making changes to devices and adding automation when required, to ensure all parts are fulfilling their required roles.

The synth leads are treated with the same precision and care as the previous melodic parts, paying particular attention to compression and EQ, whilst also adding stereo enhancement via effects return channels.

The final group of melodic instruments is mixed, firstly looking at the chord stabs, which are balanced, EQ’d and compressed, as well as additional panning automation applied, before moving on to the atmospheric dub chord.

A detailed lesson on EQ treatment of the vocal parts, ensuring that they contribute exactly the right pitches into the mix to help them sing and sit as a perfect additional groove layer for the rhythms.

The various noise sweeps and transitional elements are mixed, balancing, EQing, compressing and automating them with the same due diligence.

Simon carefully balances the vinyl crackle and ambient vocals to help them sit correctly in the mix and stereo field, automating levels so that they tell a story and add the necessary real world components to the track.

How to create Mix Buses for all the main sound groups, to allow a smaller group of individual faders purely for adjusting of levels.

As with all other channels, the effects returns require the same scrupulous attention to detail, making sure no unnecessary frequencies or sonic artefacts are being added to the mix.

Reference tracks are added to the project to serve as comparisons and help calibrate the ear, then the bus mix channels are used to rebalance the master, making absolutely sure the levels of each of the main components is sitting perfectly in the mix.

The last minor changes are made to the parts in the track, working first through the groove elements, with small automation adjustments here and there, as well as additional EQ, and then the master channel, to help maintain a good level balance between breakdowns and drops.

Simon completes the mix by making some final adjustments to level automation, making sure the various leads and melodic accompaniment is all playing nicely, then exporting the final mix as an audio file.