Blog: Mixing Lessons (Patreon)

On December 24th, I delivered the final mixes of the next Starterra album to Don for mastering. This is always a huge moment for me as when mixes get delivered, it means I'm finally finished, another album will be released soon, and I can reflect on the process and begin or push forward on the next project. 

As members of this Patreon, I thought it would be a great idea to start a personal blog so you guys can get an inside look into my creative process as part of your subscription here. I really do want this Patreon to be an open door when it comes to the content that I create and you guys, the ones who support me and my work, so you can feel like what you gain here is valuable and worth it each and every month.

With this entry, I most just wanted to focus on what I learned during the mixing phase while making the new Starterra album. As some of you might know, 2020 through 2021 were huge breakout years for me. I started the YouTube channel, launched Material, performed live at both Defcon and the Summer Chill Festival, released two albums, launched this Patreon...and so much more! 

With that, came many lessons learned about my entire creative process both on the creative side, and technical aspects of making music. To be clear, my process is unique and my approach is both calculated and met with a certain level of intuition that I use to guide myself through. With the first Starterra album, it was very clear that I needed to "get it right" and that's when I discovered something brand new that was game changing when it came to mixing...

ENTER: Pink Noise

For those of you who don't know, the "pink noise trick" has been around for awhile. It's not exactly the most sound technique either, and I can see how this is basically a crutch for those who either didn't learn the traditional way, or can't hear certain frequencies and how to separate them in a mix. That said, this "trick" was such a huge move forward for me. The idea behind it is simple: use a pink noise "reference" track and solo each track in your mix individually so they can barely be heard above the pink noise. Finally, mute the pink noise and listen to your mix. Instant balanced mix! It sounds crazy, it sounds too good to be true, but it works. Here's the video I always go back to, which also contains the download link to the noise sample I use:

https://youtu.be/EerIGRBoIzw

CONSISTENCY: The Key

Anyway, I still use this trick and relied on it for both the last S1gns Of L1fe album "The Age of Cymatics" and the new Starterra. I've gotten much faster at it, but because of the intuitive nature of it still isn't perfect. One thing I learned this time around is I need to be more consistent with my levels. Not every track is the same, but you can attempt to hit certain db levels each and every time you create a track. If you know that level, WRITE IT DOWN. This is going to be mantra moving forward. If you create music with a kick drum and know the level it should be, stick to that. If it doesn't have a kick, but you want to know what your lower frequencies should be, write those down too. 

This is crucial for getting consistent results, and believe me, I'm one who has learned the hard way and don't always get it right the first time. In fact, my last three albums have gone through two completely separate release candidates before they reached the finish line. That means I've submitted them to Don, realized they weren't perfect or needed adjustments, and had to revise them. Nobody is perfect but you can work towards perfecting your craft. I've seen myself go through this in sound design and have become much more efficient in the past few years. 

The other big lesson I learned, which relates to the first is to really pay attention to the bass frequencies and how they are influencing the rest of the mix. Bass levels are some of the trickiest levels to get right in mixing. Not only are they often unheard, but they are constantly changing in an ambient track...at least in my work. Bass is where we "feel things" and can dial in our emotional impact from the music. Taming those frequencies (yes, they can get out of control!) balancing them with the rest of the pads and sequences, and allowing them to live on their own is key to really good, really solid sounding mixes. 

EXAMPLE: Lauge

One artist who I highly respect is Danish artist "Lauge" of Lauge & Baba Gnohm. This album and the way he interplays the drone work with the beautiful bass frequencies is a wonderful example when it comes to good mixing in ambient. If you can take some of the lessons here, and apply it to your own work, even if it's just on the atmospheric side of your music and go from there, there is a lot to be gained. 

https://laugebabagnohm.bandcamp.com/album/oceanography

At the end of the day, it's all about making those small improvements that will really elevate your work to the next level. If you can begin to develop your own process further and dial in your work flow, you'll be more efficient and spend less time in the struggling in mixing phase, and more time enjoying the feeling of being at the finish line. 

Do you guys have any tips or techniques you use while mixing? Any essential plugins or methods that help improve your workflows? Let's open up the conversation below. I'd love to hear from you too... Cheers and thank you for supporting me here on Patreon!