Basic Mixing III

Mixing and Listening, finishing up a completed mix.

After basically starting a mix and finishing a static mix, progression of a dynamic mix, here we will explain
some more technique and effects. For furthermore mixing some more creative aspects will be discussed,
alike automation and finishing a mix. Dont start with automation before ready with a coherent static mix,
the static mix is your reference for level, pan, dimensions, your stage plan. Each time using automation,
keep in mind the reference static mix setting and return to these settings when the automation part has
passed. The static mix provides the basement, the floor plan or stage plan, the fundation of a house, and is
called static because from the listeners point of view instruments tend to be in the same location with the
same amout of level, pan and dimension.
Tempo.
The tempo is a measure for the rhythm, how fast or slow a track is playing. The tempo is mostly set by the
drums or the drum player. Drums are used to define tempo and rhythm. The drum player transfers the
tempo and rhythm to all other players. Specially in digital mixing or in sequencing the tempo is unattended
by beginning users. Mostly set and forget. But in real life the tempo of a playing band or group of
instruments will vary. When sequencing or mixing tempo can be of importance to betray the listener in a
rythmics sense, for this we use a timeline. For instance making the chorus slightly more up-tempo can
create a sense of stronger listening, what can be of need to make the chorus stand out a little. Varying the
tempo up down +5 or -5 BPM by automation on the correct timeline inside the mix, can create a more
natural listening feeling. Knowing something about the song, track or mix intensions and knowing a bit
about the composition or have the composer in place can be of importance when setting tempo. Tempo can
drag (slower) or tighten-up (faster). Also used as a measurement for effects alike delays synchronizing to
tempo can be of importance. Especially the rythmics instruments like percussion drums must be watched
according to tempo. It could be handy to know the delay time, when a reverb or delay placed on a snare,
how long the snare can die out, until the next snare hit comes. Sometimes in sync with a bar or beat.
Avoiding a reverb to overleap the next hit, give rythmics percussive instruments a short reverb or use a gate
after the reverb. Adjust the effect to fade before the next hit, bar or beat starts.

Some calculations can be made beforehand. For instance 12 Bars filled with each 22 Seconds refers to (12*
240/ 22) = 130.9 BPM.
To calculate delay in milliseconds 60000 / BPM = Delay time in ms.
(60 / tempo in BPM) * 1000 ms = Delay time in ms.
(60 / tempo in BPM) * 1000ms * 0.75 = Dotted Note.
(60 / tempo in BPM) * 1000ms * 2 = Half Note.
(60 / tempo in BPM) * 1000ms * 0,666 = Crotched Triplet.
Pitch and length can be adjusted on digital systems without lowering the tempo. The tempo can be adjusted
without adjusting the pitch. Or otherwise adjusting the pitch without adjusting the tempo. Some DJ
equipment depend on the BPM, pitch and tempo calculations and automated software, that could not be

done on a normal vinyl pickup record player. To sync BPM of two recordings is calculation and skill that
DJ's did when they did not have digital equipment at that time. Nowdays a computer (digital system) can do
this job, leaving space and time for the dj to be creative. Midi becomes more important to tempo, as notes
are placed in measures and bars of music, controllers do use mostly midi information. The resolution of mid
is mostly set at 384 ticks for a single bar of music notation. 192 ticks form half a bar. 96 ticks form a quarter
of a bar. (48 = 1/8, 24 = 1/16, 12 = 1/32, 6 = 1/64).

Stereo Expander.
Mostly used in panning law situations when the sound even needs to be more outwards. Check the
correlation meter or goniometer. It is better to place widening effects on groups. Never control panning
trough groups, only by its individual channel. Never control straight panning or expanding with
automation, just small panning and expanding settings for clearing a mix temporarily then setback to the
original static mix reference value.
Effects.
The range of available effects nowdays is vast, big and versatile. We cannot inform about every available
effect over here, but we start off with the most common ones. Some music styles are soly generated by the
cause of effects. Some instruments or sounds are soly generated by the cause of effects. Although we have
discussed EQ, Compression, Gate, Limiter, Delay and Reverb before, all effects are of importance. An effect
behaves by changing the dry input signal. So we could even say fader and panning are effects, but we will
not for this mixing example. We have discussed effect placement on single tracks, group tracks and send
tracks, as well as pre-fader and post-fader. Panning laws, dimensions, etc. Experience and knowing what
can be used and where to place an effect is important. Experiment and learn, learn from others work and
expirience. Allways stay at bay for correlation, masking, seperation and togetherness. Use effect to
manipulate original sound or to manipulate the dimensions (stage plan) at first. Be creative but try to
remember the mixing rules.
Effect Tools.
Tough fader and balance are not really effects; they are tools of a mixer. But EQ, Compression, Gate and
Limiter are effect tools we commonly use in mixing. Especially for the purpose of Quality, Reduction and
the Three Dimensions (Stage Planning), these tools are commonly used. Some more tools are Dynamics,
Declicker, Denoisers, Expanders, Harmonics and Exciters. When we are looking for separation,
togetherness, quality, reduction or stage planning inside the three dimensions, we can first address these
tools.
Effects Based On Nature.
Most common are Reverb and Delay. Sometimes Echo, Pitch and Stereo Effects could be used. Basically
nature effects have to do with depth and distance (location). For dimension 3, to have any effect on the
listener for measuring distance or depth, we need dimension 1 (balance) and dimension 2 (frequency
spectrum) in place. Finally when setting dimension 3 with an effect (especially reverberation), makes our
stage planning come to life. Pre-delay is an important factor for setting distance, as well as rolling off some
high trebles (in dimension 2). For as our hearing perceives the first returns of reverberation of the dry
signal and the amount of high trebles as distance. The reverberation by itself is mostly causing our hearing
to recognize a room or space.
Effects Based On Artificials.
The biggest group. Some we do explain and discuss over here. Some common examples are Flanger, Phaser,
Modulation, Filters, De-Essers, etc. But this group of effects is so vast and versatile, we cannot even name or
discuss them all. For instance the Flanger and Phaser are basically originated from reverb or reverberation.
But a flanger and phaser use such small time settings, they are normally not produced by nature. Basically
when effects can be used for being creative, we place them in this artificial group. Effects that perceive

distance or depth can reside in the Effects based on Nature. And effects that can be used as common mixing
tools can be placed in the Effect Tools group.
Declicker.
A declicker is used for removing clicks and scratches. More common on single instruments or single tracks.
Also mostly used by processing audio offline. As a nasty outcome, the declicker by its setting can generate
clicks. So watch out. Declickers can have well to very bad results, only use them when they work.
Sometimes it is easier to remove clicks by just cutting them out of the audio (manually). Use a gate to
remove long standing clicks.
Denoiser.
A denoiser used for removing noise. At first this effect might seem a solution for noisy recordings, but still
far better not to use. Do not process anything until you are certain the denoiser removes the right kind of
noise and does not take away more in its path. Mute or solo listen, listen to the mix. You might hear that the
denoiser is doing its job a little bit too much, and then adjust the denoiser until it only removes the noise
you want. If a denoiser does not work, dont use it. A lot of mixes or commercial recordings contain noise, so
don't worry that much. Also background noise can enhance the mix and contains 3d spatial information,
better not to delete at all. By using the denoiser on a master track for instance, might remove the depth you
are working on for so long to create. So do not use a denoiser on a full mix. For a denoiser it is easy to
remove the 3d spatial information that is resting in the background (-60 dB). Just in some cases where the
equipment just recorded too much noise, use it. Use a gate to remove long standing noise. Better not to use
at all, but resort to better recordings at first, use good noisefree equipment instead.
Exciters and Enhancers.
Often used by inserting an enhancer to a group track for effects sending. You could send all instruments or
tracks that need to be upfront to the enhancer, while keeping out instruments or tracks that are more
distanced. When you need contrast inside a mix, exciters and enhancers make a mix sound better and work
best on the complete mix or maybe some groups. Stereo Exciters spread the signal, watch the correlation
meter. Use exciters scarcely only when you need to influence the sound, when frequency ranges overleap
and the mix is dull. Sometimes used after compression and denoisers, just to enhance the sound a bit back
to its original behavior. Still if your ears are fatigue, do not add any of these exciters or enhancers. Then
take a good rest and come back later.
Expanders.
The amount of expansion that is applied is usually expressed as a ratio, such as 2:1, 4:1, etc. While the input
is below the threshold, a change in the input level produces a change in the output that is two times, four
times, etc, as large. Basically this does the opposite work of a compressor, sometimes referred to as decompressor. So with a 4:1 expansion ratio (with the input level below the threshold), a dip of 3 dB on the
input will produce a drop of 12 dB on the output. When an expander is used with extreme settings where
the input and output characteristic becomes almost vertical below the threshold (expansion ratio larger
than 10:1), this is often called a noise gate.
Pitch shifters.
A more creative effect in pitch and time. Pitch shifting could be used as echo effect when panned L+R.
When using two pitchshifters a chorus effect can be heard, hard left and right for an all round sweetening
trick. Some pitch shifters have auto harmony functions for vocals. A Full Stop tape effect can be created,
when you turn the offset down gradually. Pitch spirals are a 70's thing, bypassing a delay in front or behind
the pitch shifter and maybe do some feedback loop.
De-Esser.
To reduce the ' Sssssss' sounds from vocals. Commonly in the 4 KHz to 8 KHz range. Use scarcely only
when the ' Sssssss' sounds are just too much heard, reduce them only a bit, not a lot. A good de-esser will do
a good job, a bad de-esser or settings will do a bad job. Try to remove anything manually before using.
Works great on vocals though.

Filtering.
Filters are commonly used in dance and house music as a creative tool. Years earlier used to make music
alive and have some spacy sounds. Filtering (EQ) is still the best way to solve problems and purposes in
dimension 2, the frequency range or frequency spectrum. An EQ is reducing or gaining frequencies. A filter
will not reduce frequencies but just leave them intact or just cut them out. Specially used for low and high
cuts (reduction). There are many kinds of filters, band pass, low pass, mids, high pass are common. Modern
filters have more tricks like synchronization to tempo or a matrix sequencer. Filtering can make a mix jump
out, for instance make a difference to a chorus section that is mudded or masked. As a frequency range tool,
filtering with a steep high pass filter or low pass filter is a very common heavy EQ technique. For cutting
frequencies below 350 Hz (keeping out of the misery area), or 180 Hz, towards 120Hz (Bass range for Base
drum and Bass) or 30Hz (pops, low clicks and rumble) a good high pass filter can be used on all kinds of
instruments and tracks. Whenever you need a good roll off, filtering might do a better job than just EQ.
Also nowdays EQ's come with filtering elements as well.
Distortion.
Mostly known for distorted guitars. Distortion can help flat sounds, dull sounds and bad sounds. With full
sounds distortion is not commonly used, too much harmonics will crowd the frequency range. Distortion
makes a sound more dark and can add some warmth. Distortion alike compression can sustain the signal,
by this the lower parts are raised more. Hamonics from distortion can be used to replace the frequency
spectrum and can make a difference.
Overdrive.
Overdrive effects such as the use of a fuzz box can be used to produce distorted sounds, such as for
imitating robotic voices or to simulate distorted radiotelephone traffic. In science fiction use as a talk box
effect, to make a voice sound more robotic or alike transmitted radio signals. For example when to star
fighters talk by their radio (com). The most basic overdrive effect involves clipping the signal when its
absolute value exceeds a certain threshold. In rock music and related genres, overdrive is a term used to
describe the sound of an amplifier running at high volume, usually deliberately, to the point where
distortion (clipping) is clearly audible in the output signal. This distortion may range from a slight added
growl or edge with some increase in sustain up to a thick distorted fuzzy sound.
Modulation.
The modulator is a lesser used effect, maybe some unattended. Especially for Bass instruments when
producing less harmonics or Keyboards / Synths. All modulation will produce fewer harmonic and is a bit
uneasy. Even though it is a good effect and can create some nice sounds. Modulation changes the frequency
or amplitude of a carrier signal in relation to a pre-defined signal. Ring Modulation is also known as
amplitude modulation. The effect made famous by Doctor Who's Daleks and commonly used in sci-fi. In
modulation is the process of varying a periodic waveform or tone in order to use that signal to convey a
message, in a similar fashion as a musician may modulate the tone from a musical instrument by varying its
volume, timing and pitch. Normally a high-frequency sinus waveform is used as carrier signal. The three
key parameters of a sine wave are its amplitude (volume), its phase (timing) and its frequency (pitch), all of
which can be modified in accordance with a low frequency information signal to obtain the modulated
signal. A device that performs modulation is known as a modulator and a device that performs the inverse
operation of modulation is known as a de-modulator (sometimes detector or demod). A device that can do
both operations is a Modem (short for MOdulate-DEModulate).
Resonators.
Resonators emphasize harmonic frequency content on specified frequencies. A resonator is a device or
system that exhibits resonants or resonant behavior, that is, it naturally oscillates at some frequencies with
greater amplitude than others. Although it's usage has broadened, the term usually refers to a physical
object that oscillates at specific frequencies because it's dimensions are an integral multiple of the
wavelength at those frequencies. The oscillations or waves in a resonator can be either electromagnetic or
mechanical. Resonators are used to either generate waves of specific frequencies or to select specific
frequencies from a signal. Musical instruments use acoustic resonators that produce sound waves or specific
tones. Resonation occurs when you play your speakers loud and maybe a door or glass window will vibrate

and make noises. Also instruments (or even all world objects) have their own main resonation point, hot
spot. Maybe a vocalist can break a glass by singing at a certain frequency, this frequency (when the glass
breaks) is the main resonation frequency of the glass or object.
Flanger.
Flanging is caused by the dry signal and a mixed and slightly delayed second signal. The length of the delay
is randomized slightly, but is very short < 10 ms. If the delay is too long > 50 ms, the delay gets the lead and
starts to generate its own effect (echo, reverb). The flanger and phaser are artificially created, but however
are basically reverberation effects. This effect is now done electronically mainly digital, but originally the
effect was created by playing the same recording on two synchronized tape players, and then mixing the
signals together. As long as the machines were synchronized, the mix would sound more-or-less normal, but
if the operator placed his finger on the flanger of one of the instruments, that machine would slow down and
it's signal would fall out-of-phase with its partner, producing a phasing effect. Once the operator took his
finger off, the instrument would speed up until its tachometer was back in phase with the master, and as this
happened, the phasing effect would appear to slide up the frequency spectrum. This phasing up-and-down
the register can be performed rhythmically. A Comb filter is mostly some kind of flanger. Flangers make
signals a bit fatter, but not as much as its big brother the phaser. Flanging is a time-based effect that occurs
when two identical signals are mixed together, but with one signal time-delayed by a small and gradually
changing amount, usually smaller than 20 ms (milliseconds). This produces a swept comb filter effect, peaks
and notches are produced in the resultant frequency spectrum, related to each other in a linear harmonic
series. Varying the time delay causes these to sweep up and down the frequency spectrum. Part of the
output signal is usually fed back to the input (looped, feedback), producing a resonance effect which further
enhances the intensity of the peaks and troughs. The phase of the feedback signal is sometimes inverted,
producing another variation on the flanging sound. Depth (Mix) - Defines the mix between dry and flanged
signal. Delay -Defines minimal distance differences between dry and flanged signal. Sweep Depth (Width) The height of the notches of the flanging signal, the notches are extra frequencies in the frequency range
that are created by flanging and the height of the notches. Between 5 to 50ms delay time, mix control 50%,
modulation rate between 3 to 8 Hz. For more drama, increase feedback. Feedback Invert sometimes.
Phaser.
The phaser makes use of minimal differences between dry and phased signal, this mainly in form of an all
pass EQ Filter. The phaser and flanger are artificially created, but however are basically reverberation
effects. By adding the dry and phased signal there is a fase difference created that is clearly earable.
Another way of creating an unusual sound, the signal is split, a portion is filtered with an all pass filter to
produce a phase shift, and then the unfiltered and filtered signals are mixed. The phaser effect was
originally a simpler implementation of the flanger effect since delays were difficult to implement with
analog equipment. Phasers are often used to give a synthesized or electronic effect to natural sounds, such
as human speech. The voice of C3PO from Star Wars was created by taking the actor's voice and treating it
with a phaser. A phaser is an audio signal processing technique used to filter a signal by creating a series of
peaks and troughs in the frequency spectrum. The position of the peaks and troughs is typically modulated
so that they vary over time, creating a sweeping effect. For this purpose, phasers usually include a low
frequency oscillator. Depth (Mix) - Defines the volume of the filter output that is added on top of the dry
signal. Sweep Depth (Range) -Adjusts the sweep of the filter. Speed and Rate - The speed of the filters
adjustable in seconds. Feedback and Regeneration - Negative and positive feedback to make the dry signal
more interesting. In reggae often used on Drums, Bass and Guitar (Piano). Between 3 ms to 10ms delay
time, mix control set to 50%, modulation rate between 3 Hz to 8 Hz. Feedback Invert sometimes.
Chorus.
Good effect for spatial displacement also moves sounds backwards in the mix. Chorus can make a single
instrument sound as multiple or more sweet. Makes the sound more fat a richer. Chorus is a brother of the
flanger but only differs in delay. Chorus is basically an artificially created reverberation effect alike flanger
and phaser. A delayed signal is added to the original signal with a constant delay. The delay has to be short
in order not to be perceived as echo, but above 5 ms to be audible. If the delay is too short, it will
destructively interfere with the un-delayed signal and create a flanging effect. Often, the delayed signals will
be slightly pitch shifted to more realistically convey the effect of multiple voices. Chorus is a condition in the
way people perceive similar sounds coming from multiple sources, is a simulation of this effect created by
signal processing equipment to produce this effect. Between 30 to 100ms delay time, mix control 50%,
modulation rate between 3 Hz to 8 Hz. Little or no feedback. Increasing feedback creates a rotary speaker

effect.
Vibrato.
Vibrato is a musical effect. Vocal and on musical instruments can produce vibrato by a regular pulsating
change of pitch, and is used to add expression and vocal-like qualities to instrumental music. Use 2 ms to 15
ms delay time, modulation rate between 2 Hz to 10 Hz.
Doppler Effect.
The Doppler effect, named after Christian Doppler, is the change in frequency and wavelength of a wave as
perceived by an observer moving relative to the source of the waves. The total Doppler effect may therefore
result from motion of the source or motion of the observer or motion of the medium. Basically the best
explanation is, an ambulance passing by with sirens turned on. Not commonly used, but sometime very
creatively added or automated.
Pitch Shift.
Similar to pitch correction, this effect shifts a signal up or down in pitch. For example, a signal may be
shifted an octave up or down. This is usually applied to the entire signal and not to each note separately.
One application of pitch shifting is pitch correction. A musical signal is tuned to the correct pitch using
digital signal processing techniques. This effect is commonly used in karaoke machines and is often used to
assist pop singers who sing out of tune. It is also used as a creative effect. They are also used to create effects
such as increasing the range of an instrument (like pitch shifting a guitar down an octave).
Time Stretching.
The opposite of pitch shift, that is, the process of changing the speed of an audio signal without affecting its
pitch. Pitch scaling or pitch shifting is the reverse, the process of changing the pitch without affecting the
speed (tempo). These are more advanced methods used to change speed, pitch, or both at once, as a function
of time. These processes are used, for instance, to match the pitches and tempos of two pre-recorded clips
for mixing when the clips cannot be re-performed or re-sampled. A drum track could be moderately resampled for tempo without adverse effects, but a pitched track could not.
Tuning Effects.
Tuning effects can be used to tune the instrument or single track. Mostly used for tuning guitars or harp,
violin, etc. But however can be used on all kinds of instruments, for the purpose of tuning the mix. When all
instruments are in-tune, most likely a better and clear mix will arrive. Spend some time tuning your
instruments and you will be rewarded by a better frequency spectrum and composition wise a better mix.
Auto Tuning Effects.
Very welcomed effect nowdays on vocals and all sorts of instruments (correcting the tuning). Also used for
creative effects. A good auto tuner will do a good on vocals, especially when designed for vocal use. But for
melody instruments alike Bass also commonly used to tune its lower fundamental frequency range. Tuning
instruments can also be done by reverting to the synth or sampling device and tune their settings. Often
using a tuner, you can sort out the overall tuning beforehand. Recording in tune would be even better.
When all instruments are in tune, you will often get better mix in return. For creative aspects there are
quite some recordings around with the auto tuner set awkward.
Tube Amplifier Simulator Effects.
A valve audio amplifier or vacuum tube audio amplifier is used for sound recording, reinforcement or
reproduction. Until the invention of solid state devices such as the transistor, all electronic amplification was
produced by valve (tube) amplifiers. Whilst solid-state devices prevail in most audio amplifiers today, valve
audio amplifiers are still used where their audible characteristics are considered pleasing,. In music
performance, especially used on guitar amplifiers. In the case of electric guitar amplifiers a degree of
deliberate, often severe, distortion is intentionally added to the sound, and contributes directly to the tone of

the guitar, being by itself a major part of the instrument. Sometimes used in music reproduction in high-end
audio. Sometimes used for simulating historic equipment. Mostly giving more warmth compared to a
transistor, some believe tube amplifiers are better. This is a debated subject. We can use the tube for more
warmth and apply as an effect.
Vocoder Effects.
Create robotic sounds or sparkle the piano. A vocoder (voice and encoder) is a speech analyzer and
synthesizer. It was originally developed as a speech coder for telecommunications applications in the 1930s,
the idea being to code speech for transmission. Its primary use in this fashion is for secure radio
communication, where voice has to be digitized, encrypted and then transmitted on a narrow, voicebandwidth channel. The vocoder has also been used extensively as an electronic musical instrument. The
vocoder is related to, but essentially different from, the computer algorithm known as the phase vocoder.
Whereas the vocoder analyzes speech, transforms it into electronically transmitted information, and
recreates it, the vocoder generates synthesized speech by means of a console with fifteen touch-sensitive keys
and a foot pedal, basically consisting of the second half of the vocoder, but with manual filter controls,
needing a highly trained operator. Modern vocoders are more automated and versatile.
Guitar Amp Simulator Effects.
Very welcomed effect for mixing purposes, not also for guitarists. Versatile and comes often with a bunch of
presets. Sometimes containing famous guitar players presets. Containing different kinds of guitar
amplifiers, speaker setups, delay, echo, reverb, phaser, flanger, etc. A good tool to give a different feel to
guitar instruments, but also used on all kinds of instruments, groups and sends. Good tool to revive a dull
sound and is very creative.
Loudness Maximiser Effects.
Mostly used for mastering purposes. A combined effect of gaining and compression (limiting) for the
purpose of getting the most dynamic out of a mix, without added too much distortion. Better than using
only gain or master fader level and a limiter, a loudness maximiser can give more loudness levels. Only
sometimes used while mixing, for soft instruments that have almost no level, to give more loudness. This is
more a remedy for a bad thing. For mastering purposes the loudness maximiser is last in line, so only used
at the end of the mastering stage after mastering EQ and mastering compression, for instance.
Analyzer Effects.
Audio analyzers are really not effects, but to be mentioned. Analyzers are always great tools for
visualization. Analyzers can visualize Level, Peak, RMS, Bit, Spectrum, Spectrogram, Scope, Phase or
Correlation Meter. Sometimes visualizing can be very helpful depending on the purpose and mixing skill
youre working on. Simple analyzers are peak, vu-meters or red led's. RMS is average level. Spectrum and
spectrogram are good tools for working inside the frequency spectrum, finding frequencies can be easier
with visualization tools instead of listening. A phase or correlation meter checks for mono compatibility.
Midi Controlled Effects.
Often effects can be controlled by midi messages. Especially when using a hardware controller, knobs,
faders and buttons can have a function for adjusting and automation. Midi is a standard for transmitting
notes, afthertouch and controller information. Pitch bend and modulation controls are common on most
midi keyboards. Also controllers used for mixing purposes can be used for effects control. Hardware midi
controllers can give an analog feel to digital systems, avoiding using the mouse. Mixing suddenly becomes
easier and more precise with an outboard midi controller.

Finishing a mix is a creative aspect.

Starting a Mix is basically setting up a mix using fader, balance, EQ, compressor, gate and limiter to setup
for quality and reduction. Static mixing is bringing the dimensions and stage plan into the game. Then
adding dimension 3. To add more effects as we showed all effects above, is placing instruments where they
belong. You can add effects for making some more quality on individual instruments or tracks. You can add
effects for glue-ing or welding on a group for making the layer sound better. You can add effects on send
tracks as well. Depending on your stage planning or to just get some more quality and reduction, remember
adding means more overcrowding. So each time you add an effect, understand that your mix is changing
each time. Revert back to the dimensions, quality, reduction, separation and togetherness. Do a check and
re-checks to stay in the ballpark of mixing. When finally happy with the static sound of a mix, we can use
automation to correct some certain timeline parts of a mix. The time it takes to finish a static mix (80%) is
just a 1/4 to 1/3 part of finishing the mix. The last 20% will take 4 times more time to finish, the dynamic
mix contains automation an all tricks to make the mix sound correct. A static mix is more know-how and
experience can take half a day to finish. The dynamic mix only can be started when the static mix stands as
a house fundation, and will take a day or two, aslo this time is improved by experience but also involves
more creativity.
Automation.
Automation is part of the dynamic mix. We can use automation to be creative or correct certain aspects
alike masking, 3d spatial information, balance, fader, etc. Endless possibilities exist for automation.
Therefore automation can make or break a mix, do spend a great deal of your time on automation. Then at
last we listen to the final mix and really are happy. Only then we can finalize the mix.
Introduction Automation events.
One of the first and most forward use of automation is the introduction of new events or instruments. The
listener will always be introduced to new instruments, so we automate the first sounding part (maybe a
measure or more) with a louder introducing level. This will make the attention of the listener and will
reconize the sound, then after this we reduce the introduction level to its basic static mix level again.
Automation of drums.
Programmed or sampled drums rarely have natural authentic sound, as recorded drums. The verse, bridge,
and chorus, are important parts.The verse automation level is often reduced, to have more dynamics or
headroom.
Automation / Muting.
The mute button is a great automation tool. Basically affecting composition, but at least it is not as boring
as all intruments playing troughout the whole mix. Experiment with muting drums or instruments, leaving
the vocals.
Automation of fade-outs.
All events inside the mix or ending can be automated to be faded in or out. Be carefull not to use
automation for a complete fade in or out, this can be done after the mastering process.
Automation of Background Vocals, Vocals and Accoustic Guitars.
Apply a lowcut filter switch between 80 Hz and 250 - 400 Hz, each time the main vocal and background
vocal play together switch to cut more heavy inside low frequency range. When background solo's switch
back. When main vocals sing together with accoustic guitars you can apply the same function.
Finalizing the Mix.
As we have explained and discussed, we are mixing in stereo. So outputting the mix as a stereo track is
recommended. Maybe we could use a dithering device for resolution purposes. Internally on digital systems,
remember what the calculations are based on. For 32 bit float mixing we do not actually need dithering at
all. For 24 Bit or 16 Bit integer mixing we do need dithering. When we did use tracks or samples with a 16

Bit or 24/32 Bit integer format, we definitely need dithering. So it is most likely you need dithering when
exporting your mix for mastering purposes. For instance when your final product is CD, you need to dither
at 16 Bits. Only when you really have mixed everything entirely with 32 Bit Float or maybe even 64 Bit
Float operations, you might decide not to use dithering. As we have exported to mix to a stereo track, try
not to use normalizing or any other gaining function. This we can do at the mastering stage. Also do not try
to clear up the outcome. This kind of cleaning must be done inside the mixing process and then exported
again. Only marginal clearing can be done while mastering, so try to bring out the best and cleanest mix
you can! Revert to the starter mix, static mix or dynamic mix, but do not try to adjust the outcome of your
mix afterwards before the mastering stage.

Some helpful tips.

As you could work completely independent on composing, recording, mixing and even mastering, it is still a
good thing to have some people around. Maybe just for the information or their opinion. In the early days
of recording music, at least a few people where needed to help just working with all the equipment. So
structure and planning was essential as time is money. They needed the best mixing engineer, best recording
engineer and a bunch of other people to manage or produce. Nowdays a single digital computer system
could do this work by only a single person. And this is perfectly understandable. A single human being can
nowdays do almost anything by themselves. Even release tracks, songs, collections of clips or entire albums
on the internet. Planning, experience and a good deal of time are needed. Other people might think
differently about your mix sounding, so let them listen and judge. You will learn from them and their
approaches to solve a case. In any other way your experience and level can be judged by measuring other
people, adding upwards. It is nowdays possible to do all by yourself, only do when you have the experience.
Sometimes searching advice on the internet can help you, on forums you can maybe drop a question. Maybe
visit somebody else their studio or see live bands in action can help to improve stage depth in your mixes.
Watch people play their instrument and their commitment can help you imagine how this instrument
sounds and can be mixed. Maybe then you can imagine what effect can be used inside your mix or to plan
the stage. From aged to modern music, planning the stage still is important. And stage planning goes for
most music that can be mixed and is a natural approach to our ears. We are better to apply panning and
dimension laws, to ease the listener. Listen a mix at very low volumes, when bassdrum, snare, bass and
melody still sound good and blend in together, the mix is ok and can be surely played at higher volumes as
well as lower volumes. Coherend mixing. Do not use a fade in or out during a mixdown. Do not cut
beginnings and endings, better to have some free (no sound) at start and end of the mixdown.
Basic Mixing End.
The goal for a good mix is a warm, clear, deep and punchy sound. Where all events are clearly defined, or
correspond to the genre and sound good. Examine every event, less is often better. So now we have
discussed all parts of the mixing process. We hope our explanation of this process becomes clearer to you
and maybe you know why your previous mixes could sound muddy or fuzzy. You know to finish a starter
mix and static mix first using quality and reduction. Adding the dimensions according to your stage plan.
You know how to separate instruments and tracks as well as welding and glue-ing to create some
togetherness. Apart from the creative aspects of mixing, there are a lot of technical and commonly used set
rules that apply. You will notice keeping your mix natural to human hearing and not overcrowding is the
way to go. If you do not exactly know what masking means and sound alike, do learn and know exactly.
Cutting (reducing, seperation, muting, deleting) is the main tool for success, first cut then raise. Also being
tidy, taking time to correct things and do it the only way you know how to do so. Understanding that mixing
depends more on common sensible rules, then being creative. At start apply the rules more, at end be more
creative. Don't go for loudness while mixing, but go for togetherness as well as knowing how to separate.
Understanding all of this material explained before in basic mixing I, II and III, should improve your
mixing skills and finally generate a well balanced mix.
Mastering.
The next thing on your list should be mastering, as will explain in our mastering tutorial.

End Words.
We hope you have enjoyed this section and explanation over here. We tend to add information and keep
these pages updated, so new information could be added over time. Have Fun!