35 Mixing

Mistakes
 10 EQ Mistakes You Don’t Know You’re Making

EQ is the most important tool in your mixing arsenal.

Mastering it is the key to crafting clear, larger-than-life tracks. Abusing it, however, will
put you on the fast track to wimpy, muddy mixes.

So how do you learn to EQ like a pro?

Start by breaking bad habits.

The following EQ mistakes will destroy the clarity and separation in your tracks,
dooming you to mixes that sound small and amateur. Avoid them, and you’ll be well on
your way to creating tracks that compete with the pros.

And to supercharge your EQ skills, check out the free cheatsheet attached to this PDF.
It features plugin picks, plus tips and tricks for EQ’ing common instruments—which will
help you narrow the gap between your mixes and your favorite tracks.

1. You Play It Safe

Some mixers say you should never EQ more than 3dB.

Don’t listen to them.

The truth?

Sometimes you have to be bold.

Need to add 20dB of top end to a kick?

So be it.

As long as you’re EQ’ing for a reason,

(see #4 below), do whatever it takes to
achieve the sound you’re searching for.
2. You’re A Filter Freak

Some mixers high-pass every track by default.

The results are often an improvement. The low end clears up, creating more space for
the kick and bass.

But there are hidden downsides to using this technique.

Filtering everything will often remove low end that ​isn’t​ getting in the way. This is the low
end you want to keep, because it will add weight and body to your mixes. Getting rid of
it might make the low end clearer, but you’ll sacrifice fullness by doing so.

And the sneaky part?

If you filter everything at the beginning of a mix, you’ll never know what you’re missing.

Because you never got to hear it in the first place.

My vote: If the low end on a track is getting in the way, nix it. Otherwise, leave it alone.

Your mixes will sound thicker and fuller as a result.

3. You Neglect The Midrange

As mixers, we love to geek out over the

extremities of the frequency spectrum. We
obsess over achieving deep, floor-shaking
bass and airy, crystal-clear highs.

But we often neglect the frequencies in

between.

And the irony?

What we neglect is what matters most.

The midrange is where the core of most instruments lie. It’s also where our ears are
most sensitive. And finally, it’s the part of the frequency spectrum that’s most consistent
across different speakers. Master-mixer Jack Joseph Puig sums it up best:

“The midrange is where the heart and soul of music live. It’s where you feel the real
emotion that someone is trying to convey with an instrument or voice…”​ (​CEPro​)

The midrange should be a priority, not an afterthought. Spend more time focusing your
attention here.

4. You EQ For No Reason

Mixing seems complicated, but it’s actually simple. The entire process can be broken
down into five steps:

1. You hear a problem

2. You brainstorm ways to fix that problem
3. You try to fix the problem
4. You determine whether or not you fixed the problem
5. You either:
a. Return to step one if you fixed the problem, or…
b. Return to step two if you didn’t fix the problem

When you’re mixing, there should ​always​ be a step 1. You should ​always​ be trying to
solve a problem.

The danger comes when you try to skip steps.

When you try to solve problems that don’t exist.

When you start doing things for no reason.

Before reaching for an EQ, ask yourself—​what problem am I trying to solve?​ If you don’t
have an answer, ditch the plugin.

5. You Ignore Context

The goal of mixing is to make tracks sound good together.

The problem? Many mixers don’t think about it this way.

Instead, they focus on one track at a time and make decisions in a vacuum. If they’re
working on a vocal, they solo it and tweak the EQ until it sounds great on its own.

The problem?

They completely ignore context.

In solo, you can’t hear how tracks fit with

others. And so your decisions will only
make tracks sound better on their own. But
these decisions rarely hold up in context. In
fact, they’ll often make tracks sound ​worse
when you place them back in the mix.

Remember—the goal is to make tracks

sound good ​together​. In order to do this,
you have to listen to everything together.
And you have to make decisions in context,
with the rest of the tracks playing.

While soloing might be fine for basic cleanup work, do the majority of your EQing with
the whole mix playing. This can be hard at first, but it’s one of the easiest ways to
improve your mixes.

6. You Fix Problems On Your Mix Bus

So your mix sounds muddy. What do you do?

If you’re like many, you add an EQ to your mix bus and cut the offending frequencies
there.

Problem solved…right?

Wrong.

Think about it.

The muddiness you heard was likely caused by one track in your mix.

So why did you cut it from every track in your session?

While you might have fixed the problem, you probably cut a lot of stuff that didn’t need
to be cut too.

This is a surefire path to a thin, wimpy mix.

Fixing problems on the mix bus should be your last resort.

Instead, find the offending track in your mix and make the cut there. This will produce
much better results.

7. You Forget Phase

Imagine you’re mixing a multi-mic’d drum kit, and the snare sounds thin.

You boost the low end on the snare track, but

regardless of how much EQ you add, the snare
still sounds anaemic.

What gives?

The snare is probably out of phase with one of

the other drum mics.

While no amount of EQ will fix this problem, the solution is easy. Just flip the polarity on
the snare track, and you’ll have all the low end you need.

Don’t forget to check for phase cancellation before EQing. If the low end sounds thin,
phase is often the culprit.

8. You Don’t Consider Where You Put It

Let’s say you recorded a vocalist who frequently grabbed the mic stand while singing.

The result?
The recording has some low-end rumble in it.

A compressor doesn’t know the difference between this rumble and the sound of the
vocal. If the rumble exceeds the compressor’s threshold, the entire track will be turned
down.

So if the singer grabbed the mic stand in the middle of a phrase, her performance will
suddenly dip in volume. Not because she’s too loud, but because the rumble is.

This can lead to a track that gets quieter at seemingly random, unmusical moments.
Which can sound quite odd.

For this reason, I always high-pass before I compress. This way, my compressor won’t
be triggered by low-end rumble.

This is just one of many things impacted by where you place your EQ.

The bottom line?

Order matters. When EQing, consider where you put it.

9. You EQ For Level

If you’re having trouble hearing a track, do you reach for EQ first?

If so, you may be missing an easier solution.

Before reaching for EQ, try the faders. Many problems can be solved simply by turning
tracks up.

10. You Use It To Solve The Wrong Problems

Imagine you recorded a vocalist with poor mic technique.

On certain phrases, he got too close to the mic. These spots sound boomy and muddy.
But in other spots, the recording sounds fine.

What do you do?

You could EQ out some of the lower midrange.

This will make the muddy spots sound better.

But the spots that were fine to begin with will end up sounding thin.

You’ll fix one problem, but create another.

You’re using the wrong tool for the job.

Traditional EQ is great for fixing problems

that remain consistent throughout the entire
track.

But when you’re dealing with problems that

change over time, it isn’t the best option.

For issues like these, try multiband

compression or dynamic EQ. These tools
will often produce better results.
 9 Compression Mistakes You Don’t Know You’re Making

Grammy-winning mixer Bruce Swedien has a famous saying…

“Compression is for kids.”

Pssht.

The truth? Compression is ​crucial​. And if you want to craft a modern-sounding mix,
you’re gonna have to use it.

But conquering compression is tricky. There are hundreds of plugins to choose from, a
plethora of parameters to tweak, and dozens of things you can do with it.

With so many options, it’s easy to get overwhelmed. And it’s even easier to make
mistakes—which can turn any mix into a flat, lifeless pancake.

Yikes.

Avoid these nine pitfalls, however, and you’ll have nothing to worry about. Before long,
you’ll be compressing like a pro.

And if you’re looking to dive deeper, check out the compression cheatsheet attached to
this PDF. It features tips and tricks for compressing common instruments, as well as my
top picks for plugin compressors. This cheatsheet will further demystify the process of
using compression, so you can approach it with clarity and confidence in your next mix.

1. You’re Stuck In The Past

If I see another shootout comparing a dozen 1176

plugins, I might retire.

The 1176 was released 50 years ago.

Sure, it was great for its time. But are there no better tools
available today? Has ​no one​ improved upon this design
over the last 50 years?
No other industry romanticizes the past to such a great degree. Publishers don’t do
shootouts to find the best version of the Guttenberg printing press. Sure, it was great for
its time. But today, we have the internet.

If you’re trying to find the best replica of an ancient compressor, you’re barking up the
wrong tree. Many modern compressors blow the classics out of the water. They’re more
versatile and sound better.

Are you looking for them?

2. Your Attack Time Is Too Fast

Fast attack times are seductive.

They cause compressors to clamp down quickly, which can make tracks sit evenly in a
mix with minimal fuss. For this reason, many mixers dial in fast attack times by default.

So what’s the problem?

Fast attack times ​destroy​ transients.

These are the short bursts of sound at the beginning of notes—the bright pluck of a pick
hitting a string, the thwack of a drumstick on a snare, the consonants in a vocal
performance. Transients add energy and life to music. Removing them can make a mix
sound flat and unexciting.

This is likely why Bruce Swedien avoids compression altogether. To him, the risk of
sacrificing the transients isn’t worth the benefits.

But there’s no need to throw the baby out with the bathwater. Instead of avoiding
compression, just slow the attack time down. This will cause the compressor to let the
transients pass through unharmed.

The result?

You’ll get all the benefits of compression, while retaining the punch and impact that
makes music compelling.
3. You Compress Without Context

When you’re tweaking a compressor, it can be hard to hear subtle changes.

To hone in on difficult decisions, many mixers solo the track they’re working on.

This makes changes easier to hear. Without the distraction of other tracks, you can be
more discerning. The right choices ​seem​ more obvious.

So what’s the problem?

The solo button removes the ​context​ you need to make good mixing decisions.

In solo, you’ll be guided towards choices that make tracks sound better ​on their own​.
But these decisions often don’t hold up in context. At best, they’ll need additional
tweaking. At worst, they’ll lead you down the wrong path.

For example, tracks often need a lot more compression than you’d ever apply in solo.
Excessive soloing can lead to under-compression, which can make tracks sound shaky
and unstable in a mix.

It doesn’t matter how a track sounds in solo. All that matters is how it fits within the rest
of your mix.

Avoid the solo button while compressing. Force yourself to make decisions in context,
with the rest of the tracks playing. This can be difficult at first, but it will lead to better
compression decisions.

4. You Put It On Everything

I like ketchup. In fact, I like it a lot.

But some people ​love​ ketchup. And their

passion for ketchup extends beyond burgers
and fries.

They put it on ​everything​. Eggs, bacon, onion

rings…
Compression is not ketchup. Put in on every track, and you’ll end up with a small,
lifeless mix.

The secret?

Always have a reason for using it. And don’t be afraid to leave things alone. Many
tracks—including distorted guitars, drum samples, and virtual instruments—will sound
fine without it.

If it ain’t broke, don’t fix it.

5. You Monitor Too Loud

When you crank the speakers, it’s easy to hear everything. Tracks sound clear and
impactful. And you feel like a pro.

Turn the speakers down, however, and a lot of that detail will disappear. When the
singer dips into her lower register, she’ll get drowned out. That dynamic guitar part will
sound shaky and inconsistent. And suddenly, you don’t feel like a pro.

But you end up working a lot harder. And compressing ​a lot​ more.

This is a good thing. It will lead to a mix that sounds great at any volume.

Force yourself to mix at lower levels, and your mixes will improve.

6. You Use It As A Crutch

Rely on compression exclusively, and you’ll continually come up short. You may not
have to move any faders, but your tracks will often end up sounding flat and lifeless.

The trick?

Get 80 to 90 percent of the way there with compression. Tracks should sit evenly
without moving any faders. Then, flip on the automation and bring it home. Ride up the
words and phrases that get lost. Bring up any details that the compressor missed.

Even the best compressor won’t replace a fader. They’re both essential. Use them
together.
7. You Use Multiband Like It’s Going Out Of Style

Mastering engineer John Scrip has a nickname for multiband compression.

He calls it ​maul-the-band​ compression.

While many mixers use multiband compression liberally, I find it works best as a
problem-solving tool. I avoid it unless necessary, because it’s got some serious
downsides.

Splitting a track into multiple bands and processing them independently can create
artifacts and phase problems. And in most cases, single-band compression will do the
job just fine.

My advice? Try single-band first. And if you’re using a multiband compressor, have a
reason for it. More knobs don’t mean better results.

8. You Apply It All At Once

Ever hire a painter? The best painters apply several coats.

First, they cover the walls with primer. Then, they add a few coats of paint. And finally,
they touch up any areas they missed.

Compression works in the same way. For best

results, apply it in stages.

Many mixers try to do too much at the end of

the line. If they want a louder mix, they add
more compression and limiting to the mix bus.

The result?

A wimpy, distorted record.

Instead, compress in stages. Shave a few dB off tracks. Take a few more off your group
busses. And finish it off with some gentle mix bus compression.
This approach will yield more musical results. And the kicker? You’ll often be able to
achieve louder levels without distortion.

9. You Don’t Level-Match

Most compressors have a control called makeup gain, which allows you to turn the track
up after it’s been compressed.

This control can be dangerous. Add too much makeup gain, and your track will end up
louder than it was originally. This can make it difficult to determine whether the
compressor is actually making the track sound better.

Flip the bypass button in and out, and you’ll probably prefer the track with compression.
But is it ​really​ better, or just louder? It’s hard to know. In some cases, your compressor
might not be compressing at all. It may even be making things sound worse.

To avoid this trap, always adjust the makeup gain until there is no change in level when
you hit the bypass button. This is the only fair way to evaluate your decisions. Get this
right, and you’ll always make the correct call.

Conquering Compression, Once And For All

Steer clear of these nine mistakes, and you’ll be on track to conquer compression for
good.

But if you’re looking to dive deeper, I put together a bonus cheatsheet with tips and
tricks for compressing common tracks. I also included a list of my 5 favorite plugin
compressors, so you can make sure you have the best tools for the job. This cheatsheet
will give you even more clarity, so you can approach compression like a pro in your next
mix. It’s attached to this PDF, and I hope you find it helpful!
 7 Reverb Mistakes You Don’t Know You’re Making

Reverb is one of the trickiest tools to master.

Use it right, and your tracks will sound deep, wide, and three-dimensional. But mess it
up, and you’ll be on the fast track to a flat, muddy mix.

These seven mistakes will hold you back from using reverb like a pro. Avoid them, and
you’ll be on your way to crafting clear, immersive, larger-than-life tracks.

1. You Use It To Mask Problems

Some mixers use reverb to obscure out of tune vocals, sub-par performances, or tracks
that get in the way.

While this can seem like a good idea, it often creates more problems than it solves. It
can lead to a muddy, murky soundstage that lacks clarity and depth. It can create
ambiguity—which will cause listeners to wonder if the decision was a mistake.

Don’t use reverb to avoid making a decision. Instead, approach problem tracks
head-on. Ask yourself—does this ​really​ need to be here? Can I re-record it?

The best solution may be the mute button.

2. You Put It On Everything

To create depth, you need contrast. Certain tracks need to feel close, whereas others
need to feel far away.
This image has depth because the chess piece in front feels close, but the blurred pieces behind it feel far
away.

You can use reverb to make this happen. It only works, however, when you use it
selectively​.

If you drown everything in reverb, there will be no contrast. Everything will sound far
away, and nothing will sound close. Hence, no depth.

Instead, be selective about which tracks you add reverb to. Use it to make some tracks
feel close, and others far away. This is the key to creating depth.

3. You Don’t Time The Decay

When it comes to reverb, timing matters.

Reverbs that ring out too long will trample over the rhythm of a track. This can quickly
lead to a muddy mix.

Short reverbs can be problematic too—specifically in downtempo tracks, where there’s

lots of space between notes. If the reverb decays too quickly, it can leave holes in the
soundstage, which can make a track sound thin and unpolished.
So how do you nail the perfect decay time?

Set it so it covers the space between notes, but gets out of the way before the
next note hits.

This means that decay times are largely tempo-dependent. Faster tempos will usually
warrant shorter decays, because there’s less space between notes. On the other hand,
ballads and downtempo tracks will normally need longer decays.

4. You Ignore Pre-Delay

Adding reverb to a track will make it

sound farther away. This is often helpful.
But sometimes, it’s not what you want.

Take vocals, for example. Most of the

time, you want them to sit front and
center. So how do you add reverb
without pushing them back?

The trick is to add pre-delay.​ This is a

parameter that you’ll find on most reverb
plugins. It will separate the dry vocal from the reverb with a short delay. This will cause
your brain to separate the two sounds, instead of fusing them together.

The effect? You’ll hear reverb, but the vocals will remain up-front.

5. You Use Too Much

Unless you’re trying to recreate the sound of the 80’s, a little reverb goes a long way.

Reverb takes up lots of space. Use too much of it, and you’ll run out of room for other
tracks in your mix. This can lead to a record that sounds muddy and unclear.

Use less than you think you need. A good rule of thumb is to turn up the reverb until you
can hear it, and then back off a bit.

Most of the time, you want to ​feel​ reverb, rather than hear it. You shouldn’t notice that
it’s there, but you should miss it when it’s gone.
6. You Never Use Short Reverbs

Short reverbs are ​massively​ underrated.

They can add a convincing sense of depth without the space-sucking side effects of
longer verbs.

Try the small rooms or short ambience presets on your favorite reverb plugin. Often
times, these can get the job done, while taking up almost no space in a mix.

In general, the larger the session, the more helpful shorter reverbs are. Don’t discount
them.

7. You Forget About Delay

Reverb isn’t always the best tool for the job.

If you’re looking to create depth and space,

delay is often a better choice. It can
accomplish a similar effect to reverb, while
taking up much less space in the soundstage.
This will leave more room for other tracks in
your mix.

Delay is my first choice for dense pop tracks,

where sonic real estate is often at a premium.
Sparse, open tracks can usually handle more
reverb, but may still benefit from a
delay-centric approach.
 9 Mix Bus Mistakes You Don’t Know You’re Making

I felt like the commander of a spaceship.

There were ​so​ many knobs.

And when I automated stuff, ​the faders

actually moved​.

I’ll never forget the first time I mixed on an

SSL.

It was so cool.

But the coolest thing?

That SSL mix bus compressor.

From the moment I kicked it in and watched the meter dance, I was hooked.

In the year that followed, I became obsessed with my mix bus. I piled on every plugin I
could find. I copied the chains of my favorite mixers. “What’s on your mix bus?” became
my favorite ice breaker.

But along the way, I made every mistake in the book. I crushed, slammed, distorted,
over-compressed, and over-EQ’d nearly every mix I made. When I listen to these tracks
today, I cringe.

The good news?

You don’t have to repeat my mistakes. Avoid these nine pitfalls, and you’ll sidestep
some of my biggest mix bus slip-ups...

1. You Think The Mix Bus Is Where The Magic Happens

When I first discovered you could add processing to the mix bus, I was pumped.

I thought—this ​must​ be what’s separating my mixes from the pros!

Oh, how wrong I was.

The truth?

Mix bus processing is like the cherry on top of a

bowl of ice cream. Will it transform a crappy flavor
into a killer one? Definitely not. Is it even
necessary? Eh. You can certainly get by without it.

The mix bus is ​not​ where the magic happens.

Crafting a great mix takes a lot more than proper
mix bus processing. I wish it was that easy…

2. You Add Processing Too Late

Add mix bus processing at the end of a mix, and you can easily destroy the delicate
balance you’ve spent days crafting.

For better results, add it early and mix into it. This way, every decision you make
throughout the mixing process will be shaped by what it’s doing.

The result?

You’ll get all the benefits of mix bus processing without messing things up at the end of
the line.

3. You Try To Fix Problems On The Mix Bus

Many problems within a mix are caused by only one track.

For example—if your mix sounds muddy, there might be too much low end on a synth.
Or maybe the lower midrange on a guitar is too thick.

Either way, when you make a move on your mix bus, you affect every track in your
session.

Cut the low end there, and you cut it from every track in your mix.
Why do this if only one track is causing the problem?

This is a surefire path to a thin, wimpy mix.

Instead, find the source of the problem and fix it there.

The mix bus should be your last resort.

4. You Don’t Gain Stage Properly

Many plugins sound different depending on how

hard you hit them.

So to get the most out of your mix bus, make sure

you’re hitting it at the right level.

A good rule of thumb?

Aim for around -18 dB on your DAW’s meters (this

is average level…the peaks can jump above -18
dB). This will put you in the sweet spot of most
plugins.

Get this right, and you’ll optimize your mix bus for
peak performance.

5. You Use Fast-Attack Compression

Fast attack times are deceptive.

At first listen, they can make a mix sound smoother and more controlled.

But there’s a downside to using them…

They ​destroy​ transients.

Transients are the short bursts of sound at the beginning of notes. They add energy and
life to music, and taming them can make a mix sound flat and unexciting.
Since slower attack times preserve transients, they’re usually a better choice (especially
on the mix bus).

6. You’re Too Heavy-Handed

Sometimes, aggressive mix bus processing makes sense. But most of the time, subtle
is the way to go.

Be gentle. Low-ratio compression and broad, tempered EQ curves often sound best.

If you find yourself digging in deeper, make sure you’re not trying to solve a problem
that can be fixed on an individual track (see #3 above).

7. You Don’t Use Gain Compensation On Your Limiter

Limiters are the most dangerous tools we’ve got.

Why?

Because in our quest to make things loud, we regularly destroy the mixes we’ve
created.

But often, it’s not our fault.

See, most limiters have a major flaw.

As you add more limiting, your track gets

louder.

Louder ​always​ sounds better. And this

makes it difficult to determine when enough
is enough.

The result?

We often end up crushing the mixes we worked so hard to create.

But there’s a solution…

Gain compensation.

This feature links the limiter’s input and output gain. When you turn the input up, the
output turns down. So as you add more limiting, there’s no change in level.

Gain compensation makes it easy to determine the right amount of limiting for any mix.
Just crank the input gain until the mix starts to sound smaller. Then back it off a bit.

Problem solved.

8. You Pile On Specialty Processing

As modern mixers, we’ve got all sorts of fancy tools.

Saturators, stereo imagers, multiband compressors…

But the truth?

They all have their downsides.

Saturators can make a mix sound harsh and edgy. Stereo imagers can cause phase
problems. Multiband compressors can create artifacts between bands. (There’s a
reason why mastering engineer John Scrip calls them “maul-the-band” compressors…)

Do you really need all this stuff on your mix bus?

Probably not.

Instead, go back to basics. It’s amazing what proper balance, EQ and compression can
do. Get this stuff right, and you’ll find you can often craft better mixes without these
specialty tools.

9. You Never Touch The Fader

The master fader ​is a fader​.

Yup…just like any other track in your mix.

Don’t be afraid to automate that puppy.

Bump it up a dB in the choruses to add impact. Pull it down in the outro to make the
song feel smaller.

Do this right, and you’ll enhance the dynamics of your mix.

SSL console image by ​Audio Mix House​ (​CC BY 2.0​)

Cherry ice cream image by ​Javcon117​ (​CC BY 2.0​)
We hope you enjoyed reading this PDF!
For more free mixing tips and tricks, check out ​Behind The Speakers​ and ​Musician On
A Mission​.

The material in this eBook was adapted from several articles originally written for ​The
Pro Audio Files​.