THE FOUNDATION OF A CLEAN MIX
Every mix problem starts with gain staging. Get this right and mixing becomes 10x easier.
Rule 1: Each track should peak around -12 to -6 dBFS before any processing. Use Utility as the first device on every track to set this.
Rule 2: Your master bus should peak around -6 dBFS during the loudest section. This leaves headroom for mastering.
Rule 3: Use the track faders for mix balance, NOT the device volumes. Faders are post-device chain — they control what you hear without affecting how plugins respond.
| Bus | Contents | Processing | Purpose |
|---|---|---|---|
| DRUM BUS | Kick, snare, hats, perc | Glue Compressor → EQ Eight → Saturator (subtle) | Glue drums into one cohesive unit |
| BASS BUS | Sub, mid-bass, bass FX | EQ Eight (HP 25Hz) → Compressor → Utility (mono below 120Hz) | Control bass dynamics, ensure mono sub |
| SYNTH BUS | Leads, pads, stabs | EQ Eight → OTT (subtle) → Stereo widener | Presence and width without crowding center |
| FX BUS | Risers, impacts, textures | EQ Eight (HP) → Compressor → Limiter | Control transients, prevent spikes |
| VOX BUS | Vocals, vocal chops | EQ Eight → De-esser → Compressor → Reverb send | Clarity and space |
GAIN CONTROL
First device on every track. Adjust input gain without touching the fader. Consistent levels into your effect chain.
MONO BASS
Set Bass Mono below 120Hz. Everything below that frequency collapses to center. Essential for club playback and vinyl.
WIDTH CONTROL
Width at 0% = mono. 200% = exaggerated stereo. Use to narrow bass elements and widen pads/textures.
MID/SIDE TRICK
Two Utility devices: one set to Mid, one to Side. Solo each to hear what's in the center vs what's on the sides. Essential for debugging stereo issues.
PHASE FLIP
Phase invert buttons (Phz-L, Phz-R). Use when layering kicks or bass to check for phase cancellation. If the sound gets LOUDER when you flip phase, your layers are fighting.
SILENT REFERENCE
Put Utility at -inf dB on a reference track. Quickly toggle it on/off to A/B your mix against a commercial release without accidentally leaving it routed to output.
SUBTRACTIVE FIRST, ADDITIVE SECOND
Step 1: High-pass everything that doesn't need sub content. Synths at 80-120Hz. Vocals at 100Hz. FX at 200Hz+. Only kick and bass get full sub range.
Step 2: Sweep a narrow boost (Q=8, +12dB) through the spectrum while soloed. When something sounds bad, note the frequency, then CUT there instead of boosting.
Step 3: Common problem frequencies: 300-500Hz (mud/boxy), 2-4kHz (harsh/fatiguing), 800Hz (nasal/hollow).
Step 4: Only BOOST to add character, never to fix problems. Cuts fix problems. Boosts add color.
KICK → BASS SIDECHAIN
Compressor on bass track. Sidechain input: kick track. Ratio 4:1 to inf. Attack 0-1ms. Release 100-300ms (genre dependent).
Dubstep: Release 200-300ms, heavy ducking. The "pump."
DnB: Release 50-100ms, subtle ducking. Quick recovery.
Trap: Minimal — the 808 IS the bass. Sidechain mids/highs only.
BEYOND KICK→BASS
Snare → everything: Light sidechain of ALL elements to the snare. 1-2dB duck. Makes the snare cut through without boosting it.
Bass → pads: Sidechain pads to bass. Creates space for bass movement without EQ cuts.
Ghost sidechain: Use a silent MIDI track with Operator (output muted) as the sidechain source. Program any rhythm you want as the ducking pattern.
1. Gain stage — Utility on every track, peaks at -12dB.
2. Static balance — Faders only, no plugins. Get a rough mix that sounds decent with just volume and pan.
3. Subtractive EQ — Cut problems. HP everything. Remove mud, harshness, resonances.
4. Compression — Control dynamics. Glue groups. Tame transients where needed.
5. Additive EQ — Add character. Presence boosts, air, warmth. Subtle moves only.
6. Effects — Reverb and delay via sends. Saturation and distortion inline. Width processing.
7. Automation — Ride volumes, filters, sends across the arrangement. Make it MOVE.
8. Master — Light limiting only. If the mix sounds bad on the master, go back to step 2.