Kiss- learning how to use my awesome new Slate from my awesome boo-thang @josiah__elijah 🤘🏼 #slate#iskn#thanksbaby if you’re interested in seeing my random art updates go follow my art page @charisshirleyart ❤️👻
When it comes to mixing, I approach it from a "three-dimensional" perspective. These three dimensions are width (stereo placement/panning), height (frequency) and depth (room placement/space). Each of these three dimensions can vary from note to note, but can be analysed and accomodated for at any static moment or "slice". Before I even begin to mix, I'll spend some time building a mental image of how I want the mix to sound and feel. Sometimes I take notes, or voice memos, or random scribbles. This mental picture determines everything, from EQ choice to what type of distortion I want to slam the drums with.
When mixing, I'll first focus on height. I'll go through each instrument layer by layer and carve out a slot in the frequency spectrum for each. The first pass is just broad strokes; sculpting everything with big, easy movements to mould them into their approximate shapes.
The second pass is to fine tune. I'll get more clinical, surgically focusing on troublesome frequencies to find the exact sound in my head. There are never any limitations here - 20dB movements are no more right or wrong than 2dB. Do what needs to be done to get to your vision.
The third and final pass is automation. You may find that instruments change tone and timbre over time, and thus things may need changing to fit. You might need to pull more mids from something to create room for a new element in a bigger section, or even an entirely new plugin to achieve a different tonality. My automation can get pretty hairy sometimes (15+ lanes for a single sound!). Don't be afraid to be drastic.
Thanks for reading! Part Two tomorrow covers width.