Main mixing weapons - EQ, Compression and Reverb
Lesson time: (11min 1sec)
Course preview
This lesson is part of the course Mixing Commercial Pop Music
Watch a preview of the full course below.
Lesson transcript:
Mixing Process Overview
Welcome back! In today's lesson, we'll focus on the essentials of the mixing process, emphasizing EQ and compression as your main tools for creating a polished sound.
The Importance of EQ
EQing is crucial because it determines which frequencies are used in a sound. With 30 to 40 sounds playing simultaneously, it's essential to ensure they don't interfere with each other.
- Lead Vocal: This will typically be the brightest and loudest element in your track. Everything else must find its place around it.
- Low Frequencies: The bass and kick drum are your lowest elements.
- Define Frequency: It's important to experiment and discover which sounds occupy what frequency ranges.
Tips for EQing:
- Don't be afraid to experiment!
- My favorite EQ is the SSL EQ for a more nuanced, smooth sound.
- I also like the Navy Q on the Slate plugin.
As you add more sounds, you'll learn how to EQ them to fit together cohesively. Your goal is for every sound to occupy its own "pocket" of frequency, ensuring clarity and preventing a muddled mix.
Understanding Compression
Compression is a powerful tool that can help you achieve that 'slamming' sound, reminiscent of classic Led Zeppelin records, which often utilized a big room and a significant compressor for their drums.
- Benefits of Compression:
- Levels out the sounds for more consistent volume.
- Controls dynamic range, making the track sound more professional.
The Role of Panning
Panning is another effective technique for achieving separation in your mix.
- Keep Mono in Mind: Ensure your mix still sounds good in mono, it's essential not to rely solely on panning for distinction.
- Effective Use of Panning: For instance, introducing a new instrument from the left and a different one from the right creates a more dynamic listening experience.
Mixing Objectives
Your primary aim in mixing is to ensure every sound is distinct, clear, and audible rather than a jumbled mess.
Example Demonstration
Here's a track I mixed earlier this year.
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Drum Mixing:
- The drums sounded somewhat flat, so I applied compression to make them slam more. Here's the difference when the API compressor is engaged.
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Bass Adjustments:
- I have two bass tracks, one focused on low end and the other on middle frequencies. By filtering out low frequencies from the middle bass, I created clarity between the two.
Methodical Mixing Process
This part of mixing is less about creativity and more about methodical procedures:
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Order of Operations:
- Start with drums.
- Add bass and other rhythm instruments.
- Include pads, strings, and melodies.
- Finally, treat the vocal as another important instrument.
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Time Management:
- Generally, aim to complete a mix in a single day for the first draft.
Final Touches
For clarity:
- I often recreate my mix by introducing EQ and compression one by one, then applying reverb to see how everything comes together.
Reverb Techniques
When it comes to reverb:
- Use a bright plate reverb for your main sound (around 2-2.5 seconds).
- Have a smaller room reverb (under 1 second) for drum sounds.
- Utilize a long reverb for occasional effects.
Reverb Management Tips:
- Limit yourself to a few effective reverb types to maintain clarity in your soundscape.
- It's best to place reverb on buses rather than inserts to retain flexibility and reduce clutter.
Let's load up the other song and explore these concepts further!
About the instructor

In the early nineties, Goetz Botzenhardt trained at Swanyard Recording Studios, assisting top producers like Flood, Alan Moulder and Tom Lord-Alge, and cut his teeth recording and mixing the dance and Acid Jazz bands of the 90s - Incognito, Galliano, Soul II Soul and many others.At Swanyard he met Rollo Armstrong and the two quickly formed a creative partnership, leading to many big dance records and remixes and, soon after, to recording and mixing the first two acclaimed Faithless albums and Dido's multi-platinum 'No Angel'.Ranging across genres, he recorded and mixed the Sugababes' debut album 'One Touch', including their first hit 'Overload', and has mixed for The Cardigans, Bjork, The Cinematic Orchestra, Craig David, the Pet Shop Boys and Hikaru Utada, one of Japan's most successful artists.More recently he expanded into film and TV, working extensively with composers Christian Henson, Martin Phipps and Anne Nikitin, and mixing Daniel Pemberton's Golden Globe-nominated score for 'Steve Jobs', directed by Danny Boyle. Away from film he produced Tanita Tikaram's 'Closer to the People', mixed tracks for Sigala, Ella Eyre, Breton, Planet Funk and Tito Jackson, and in 2016 mixed Peabo Bryson's album with Jimmy Jam and Terry Lewis. A full list of his work is on his discography and filmography pages at goetz-botzenhardt.com.Goetz works from his own studio and mix room, built around an SSL E4044 console, Adam 5.1 surround monitoring, a 48-channel Pro Tools HDX system and choice outboard gear. In his courses he takes you inside that room to show how he mixes across two very different worlds: in Mixing for Film & TV Score, how he balances and shapes orchestral and hybrid scores to serve the picture; and in Mixing Commercial Pop Music, how he builds punchy, radio-ready pop mixes from the multitrack up. read more




