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.


On her new record with her trio, Molly Miller executes a live-feeling work of structural harmony that mirrors her busy life.

Photo by Anna Azarov

The accomplished guitarist and teacher’s new record, like her lifestyle, is taut and exciting—no more, and certainly no less, than is needed.

Molly Miller, a self-described “high-energy person,” is fully charged by the crack of dawn. When Ischeduled our interview, she opted for the very first slot available—8:30 a.m.—just before her 10 a.m. tennis match!

Read MoreShow less

John Mayall in the late ’80s, in a promo shot for his Island Records years. During his carreer, he also recorded for the Decca (with the early Bluesbreakers lineups), Polydor, ABC, DJM, Silvertone, Eagle, and Forty Below labels.

He was dubbed “the father of British blues,” but Mayall’s influence was worldwide, and he nurtured some of the finest guitarists in the genre, including Eric Clapton, Peter Green, Mick Taylor, Harvey Mandel, Coco Montoya, and Walter Trout. Mayall died at his California home on Monday, at age 90.

John Mayall’s career spanned nearly 70 years, but it only took his first four albums to cement his legendary status. With his initial releases with his band the Bluesbreakers—1966’s Blues Breakers with Eric Clapton; ’67’s A Hard Road, with Peter Green on guitar; plus the same year’s Crusade, which showcased Mick Taylor—and his solo debut The Blues Alone, also from 1967, Mayall introduced an international audience of young white fans to the decidedly Black and decidedly American genre called blues. In the subsequent decades, he maintained an active touring and recording schedule until March 26, 2022, when he played his last gig at age 87. It was reported that he died peacefully, on Monday, in his California home, at 90.

Read MoreShow less

Featuring enhanced amp models, a built-in creative looper, AI-powered tone exploration, and smart jam features.

Read MoreShow less

Donner andThird Man Hardware’s $99, three-in-one analog distortion, phaser, and delay honors Jack White’s budget gear roots.

Compact. Light. Fun. Dirt cheap. Many cool sounds that make this pedal a viable option for traveling pros.

Phaser level control not much use below 1 o’clock. Repeats are bright for an analog delay. Greater range of low-gain sounds would be nice.

$99

Donner X Third Man Triple Threat
thirdmanrecords.com

3.5
4.5
4.5
5

A huge part of the early White Stripes mystique, sound, ethos, and identity was tied to guitars and amps that, at the time, you could luck into for cheap at a garage sale. These days, it’s harder to score a Crestwood Astral II, or Silvertone Twin Twelve with a part-time job in the ice cream shop. Back in the late ’90s, though, they were a source of raw, nasty sounds for less than a new, more generic guitar or amp.

Read MoreShow less