Premier Guitar features affiliate links to help support our content. We may earn a commission on any affiliated purchases.

Three Simple Secrets for Better Mixes

Three Simple Secrets for Better Mixes

Fig. 1

Respecting dynamics and artists’ intentions, along with a knowledge of the core sounds of various genres, will propel your journey on the path to enlightenment.

Hello and welcome to another Dojo installment. This month, I’ll share three simple secrets for getting better and more consistent mixes. In the ever-changing world of mixing music, engineers are constantly having to refine their chops while still being acutely aware of current trends, past traditions, managing expectations of artists—all while adding and refining their own contribution to recordings.


Regardless of musical genre, I’m often asked, “How do I make my mixes better?” I usually respond with “it depends.” Mixing isn’t math, there is no theorem or equation that will give you a precise approach. It’s about emotion. Your job when you’re mixing is to bring final focus and attention to fluid, emotional moments by guiding the listener on a highly curated journey. How can we even begin to approach this abstract goal? Tighten up your belts, the Dojo is now open.

Let’s assume you already have an intimate knowledge of what the vision is for the song or album. This is a crucial step! It’s one that I spend a great deal of time developing. I passionately feel that artists and bands deserve a mixer who is completely committed to their vision, and can add deep, meaningful contributions to their recordings while still being an objective voice that can bring an extra bit of magic to the project. Don’t start mixing until you’ve done your homework and really understand the profound level of sacrifice that artists go through to make their music. You should feel the honor and responsibility that is involved as well.

Your job when you’re mixing is to bring final focus and attention to fluid, emotional moments by guiding the listener on a highly curated journey.

Now here are those three secrets for better mixes:

1. Who’s on Bottom?

My main goal is to get to the emotional core of the song as soon as possible. On first listen, I’m not worried about “is the hi hat too loud?” I bring the faders up to unity, as seen in Fig. 1, and just listen.

On the next listen, I get basic levels and determine which instruments are important in which sections. Quickly, I address the genre and determine “who’s on bottom.” There are usually two choices: bass (or synths or low-tuned, 8-string guitars) or the kick drum. Musical genres have certain expectations. For example, hip-hop and rap typically reserve the bottom end of the frequency spectrum for kicks and tuned 808 tones, while heavy rock usually wants the guitars in the bottom with just the attack of the kick drum above for articulation. Your understanding of this and the artist’s tolerance for how far they’re willing to push these expectations will help you decide. This doesn’t mean the values can’t switch based on certain sections of the song. I do this quite a bit, but overall, there should a clear winner and a clear approach.

2. Less Is More

Fig. 2

When using EQ, employ it to cut problem frequencies. Far too often, folks boost frequencies of what they want to hear rather than going in and notching out problem areas. That results in everything getting louder and the problem areas don’t go away. Does the kick drum have a ring to it? Go find that frequency by sweeping a gained-up, narrow Q point across the frequency spectrum [Fig. 2] until you find the ring—and then cut it!

Fig. 3

The same can be done for shrill guitars, bass-heavy percussion, muddy keys, and particular notes of the vocal that really jump out and sound strident. Remember to boost with a narrow Q, sweep, isolate, and cut [Fig. 3].

3. Beware the Buzz Cut

Don’t overdo compression. Most of the time when I use compression, I’m getting anywhere from 2 to 10 dB of gain reduction. Anything over that, and I need to have a valid reason why (squashing a drum kit, pinning a background vocal or synth, etc.). Try to preserve as much dynamic range in your mix as possible and your audience will be able to climb in the mix more, and their ears won’t be fatigued.

Fig. 4

Take a look at a classic 2000s loudness war mix in Fig. 4. See how the music has a “buzz cut?” There’s hardly any dynamic range. Everything is loud!

Fig. 5

Now look at Fig. 5. This a classic heavy metal song, and look the dynamic range.

FYI, Apple Music, Spotify, and others are really rewarding mixes with greater dynamic range, and if their algorithms determine your mix sports a buzz cut, they will lower your loudness level anyway, thus foiling your dastardly plan to win the louder-is-better contest.

Blessings and, until next time, namaste.


While Annie Clark was named the 26th greatest guitarist of all time by Rolling Stone in 2023, she couldn’t care less about impressing an athletic stamp on either her sound or her image.


Photo by Alex Da Corte

On her eighth studio release, the electroacoustic art-rock guitarist and producer animates an extension of the strange and singular voice she’s been honing since her debut in 2007.

“Did you grow up Unitarian?” Annie Clark asks me. We’re sitting in a control room at Electric Lady Studios in New York’s West Village, and I’ve just explained my personal belief system to her, to see if Clark, aka St. Vincent, might relate and return the favor. After all, does she not possess a kind of sainthood worth inquiring about?

Read MoreShow less

The GibsonES Supreme Collection (L-R) in Seafoam Green, Bourbon Burst, and Blueberry Burst.

The new Gibson ES Supreme offers AAA-grade figured maple tops, Super Split Block inlays, push/pull volume controls, and Burstbucker pickups.

Read MoreShow less

Mdou Moctar has led his Tuareg crew around the world, but their hometown performances in Agadez, Niger, last year were their most treasured.

Photo by Ebru Yildiz

On the Tuareg band’s Funeral for Justice, they light a fiery, mournful pyre of razor-sharp desert-blues riffs and political calls to arms.

Mdou Moctar, the performing moniker of Tuareg guitar icon Mahamadou “Mdou” Souleymane, has played some pretty big gigs. Alongside guitarist Ahmoudou Madassane, drummer Souleymane Ibrahim, and bassist Mikey Coltun, Moctar has led his band’s kinetic blend of rock, psych, and Tuareg cultural traditions like assouf and takamba to Newport Folk Festival, Pitchfork Music Festival, and, just this past April, to the luxe fields of Indio, California, for Coachella. Off-kilter indie-rock darlings Parquet Courts brought them across the United States in 2022, after which they hit Europe for a run of headline dates.

Read MoreShow less

U.S.-made electronics and PRS’s most unique body profile make this all-American S2 a feast of tones at a great price.

Many sonic surprises. Great versatility. Excellent build quality

The pickup selector switch might be in a slightly awkward position for some players.

$2,029

PRS S2 Vela
prsguitars.com

4.5
5
5
4.5

Since its introduction in 2013, PRS’s S2 range has worked to bridge the gap between the company’s most affordable and most expensive guitars. PRS’s cost-savings strategy for the S2 was simple. The company fitted U.S.-made bodies and necks, built using the more streamlined manufacturing processes of PRS’s Stevensville 2 facility, with Asia-made electronics from the SE line.

Read MoreShow less