Mixing – NITELIFE Audio

These ‘PROTIPS’ have appeared across our socials over the last few months. We thought it might be helpful to have them collated into a single digestible article – so here’s part one, which consists of the first five. We’ll be continuing to release these regularly, providing tips, tricks, and valuable advice across a range of production, workflow, creative, mindset, and mix-related questions.

Whilst hi-hats add a lot of energy and groove, if proper consideration isn’t given to de-essing and minimising resonant frequencies, they will end up sounding overly harsh when your record is played at high volumes and/or mastered. You can solve this problem in various ways:

1. Apply some generous subtractive EQ to remove un-needed high and low frequencies. Tape saturation also does a great job of smoothing the high end.

2. Play with the envelope of your hi-hats to create a tighter, more precise sound. Sometimes a transient shaper can be useful here, too. You don’t need as ‘much’ hi-hat as you think you do, especially on club systems.

3. Use a de-esser plugin, or preferably a specialist tool like Oeksound’s Soothe to control & dynamically suppress harsh, fatiguing resonances. Your mastering engineer, and your ears, will thank you.

It’s a problem that’s been around virtually as long as we’ve been mixing audio: how to get that coherent, pleasant-sounding low-end with a kick and bass that ‘sit’ together nicely. Here’s our advice:

1. It might sound obvious, but choosing the right sounds to begin with is going to make your life a lot easier. If you have a kick drum that’s got the sub-heavy, low-end characteristics of an 808, then you’re going to struggle to get a coherent, pleasant balance with almost any other kind of bass sound that plays at the same time. You can navigate this by a) not having a bassline and making the kick even heavier (common in a lot of techno productions) or b) programming/playing the bass to be in spaces where the kick isn’t. However, keep in kind that offbeat basslines which are too busy or too sparse may not best suit the genre you’re making.

2. If you’re happy that you’ve got the best possible sounds, the next step is to tidy up what you have. Be diligent with your EQ, being sure to make a low-cut as high as you can go on every instrument and then on every bus channel too. It’s not uncommon in specific genres to go as high as 30/40/50hz with the kick drum to leave room for the bass. You should also remove any ‘flabbiness’ from both the kick and bass using the envelopes or a transient shaper to tighten up the notes and create space. Using something like a Subpac can help you to measure the interaction between the kick and bass, and also alert you to any other instruments which have rumbles that your ears can’t pick up.

3. Lastly, some good old-fashioned classic side-chaining may actually be all you need. We’ve placed it last as a recommendation because it shouldn’t take precedence over choosing the right sounds and tidying up your low-end elements – you should be doing those things anyway. Still, it’s a helpful method which not only can improve your mixes but also works as a stylistic sound design tool that you can apply to vocals, pads, textures or anything else to add a dimension of rhythm and movement. Productions by artists like Kaytranada and Disclosure are great examples of this.

Making records as an electronic artist or dance music producer is very often a solo pursuit, and after the initial burst of creativity and ‘fun’, we can spend many hours ‘in a loop’ feeling frustrated, doubting ourselves, and procrastinating over the arrangement and anything that we find tedious. Collaborating with somebody else can really help you in this situation because the other person is very likely to approach the music or stems that you send them in a refreshed way. They won’t be fatigued by repetition and they will be able to hear things that you’ve missed – both good and bad.

Finishing music is absolutely crucial but it’s also one of the processes that requires the most discipline. Try reaching out to someone you’re friends with, or on the same label, or perhaps have worked with before, and propose that you swap stems and finish each other’s ideas. This way, if all goes well, you’ll end up with 2 finished tracks which you can send to labels and you will have minimised the tedious bits that usually lead to time being wasted.

There are sure to be times when you’re not feeling quite as creative. Maybe you’re tired, or perhaps you don’t have the time on a particular day to get into making a full track. On these occasions, it’s important to remember that no session in the studio ever needs to be wasted. If, for instance, you’ve only got 2 hours to spare, you could use it to export stems and loops from existing projects, organise your sample folders, and save channel strips & synth patches. This makes sense on several levels – it’s likely that you’ve already spent a reasonable amount of time getting those sounds exactly how you want them, so why not call upon them again when you’re making that next record in the same style? They should slot in nicely with whatever you’re working on in terms of tone and processing, and reusing them also has the added benefit of helping to establish your ‘sound’ through repetition of certain signature elements or motifs. You can effectively think of this as your own ‘in-house’ sample library, which you can chop, flip and resample. If you’re diligent about it, it can really pay dividends in the future.

Another recommendation is to move your most inspiring samples into a dedicated folder so that when you need something with a bit of magic, you can simply heato the ‘inspiration’ folder to find it.

Finally, Save precious hard drive space (and your sanity) by deleting sounds you’ve had for years, but never used. We all have those sample graveyards that (even with the best of intentions) never get visited. It’s highly unlikely you’ll miss them if you delete them, and it’ll make finding those hidden gems that bit easier. Just because there’s an endless palette of drum sounds out in the world, it doesn’t mean that you should waste your time trying to acquire them all.

It might initially seem counterintuitive, but too many options can be stifling. It’s what’s commonly known as ‘analysis paralysis’. Before we had the computer processing power, choices and (almost endless) distractions we do today, the specific ways in which most hardware and software worked arguably helped us to focus far better. Limitations included: available memory, sampling time, mixing desk channels or just a general lack of equipment. Very often, there might only be single compressor / delay / reverb along with possibly 1 hardware synth or some type, a drum machine, and perhaps an 8-track recorder, in a smaller home or project studio. As a result, producers and musicians had to find creative workarounds to bring their ideas to life.

You can apply these principles to your own music by setting boundaries. Why not try and make a record with only 5 elements, but make those elements evolve by continuously automating them to keep things interesting? Or if you usually use live instruments like Rhodes, guitars, and bass, try writing a track with entirely synthesised elements. These self-imposed restrictions should speed up your decision making.

Another fun approach, if you’re able to, is to use a standalone groovebox like an MPC or Maschine to construct a track. In the heyday of house and hip hop, many beats would have been composed entirely on an MPC or SP1200, and the ‘on-the-fly’ performance recorded to a 4-track or DAT or tape machine, including breakdowns, effects, and main sections. You could then choose the best parts and edit a 12 minute recording down to 6 or 7 minutes. Many producers still employ this method today.

In this article, we’re going to look further at improving the sound of the low end in your productions. In particular, we are going to delve into EQ, one of the most important tools available to the producer, and look at basic mixing using parametric EQ. We recommend reading part 1 first if you haven’t yet done so – you can find it here.

EQ is the abbreviation of Equalisation and comes from the early 20th century when the tone of the human voice over a telegraph or telephone needed to be ‘equalised’. Now it refers to a control to change the tone of audio: specifically, it’s a filter that is able to cut or boost a particular section or frequency range of the audio spectrum. The bass and treble controls on a car stereo are a basic EQ (called a ‘shelving EQ) which allows you to boost at fixed frequencies either the ‘low end’ of the musical spectrum – the bass, or the ‘top end’ – the treble. The EQ available to producers, however, splits the audio spectrum up into much smaller sections than simply bass and treble and allows for far more precision and control than simply boosting.

The full human auditory spectrum, from the very lowest sounds that you can only really ‘feel’ rather than hear and up to the highest sounds that a human can perceive, is in the range of around 20Hz up to around 20kHz. All the sounds and samples you’ll be using in your productions will sit somewhere within this spectrum. The producer’s job is to get all the sounds to work as they want it to – to either cut through the mix, or sit quietly in the background, and to work with all the other sounds. EQ will be one of the main tools in this job, and you will grow to love your trusty EQs once you learn what they can do.

Two Golden Rules

There are a number of different types of EQ but when you’re working in a DAW, it’s likely that you’ll be using a parametric EQ. Parametric EQ allows you to select the frequency, bandwidth and gain. It’s the producer’s go-to tool to fix all sorts of production challenges. Need a little more slap from the congas? Too much sizzle on the hi-hats? A bit too much boom but not enough thud in the kick drum? These are all things that can be tackled using your EQ. But! …there are two golden rules to remember:

Always try to fix the problem at the source first – EQ is a wonderful tool, but before you reach for the gain control, it’s worth checking to see if you’ve chosen an appropriate sound.
If you’re happy with the sound choice then it’s almost always preferable, at least in the first instance, to cut the EQ rather than boost.

You can think of creating a well-mixed track like creating a sonic jigsaw. Each sound – a beat, a loop, a bass line, a sample or a vocal – needs to fit neatly with all the others to create the whole. Putting a mix together can involve sculpting out spaces in the frequency spectrum for each part to sit in, depending on the complexity of the track in question, and your sound sources, amongst other things. You can ‘sculpt’ this space by using EQ to remove parts of the audio spectrum that are un-needed, and that are getting in the way of other parts or bussed groups of parts. It’s way too easy to give a few little boosts to some parts in isolation and suddenly find yourself with an overcooked, bright or harsh sounding mix which will also eat away at your precious headroom. Far better to begin your mixdown by making cuts, cleaning up and decluttering.

For example, you might want to make your bassline really cut through the mix. Instead of just using the EQ to add extra bass, it would make more sense to check other parts in the track and experiment with making EQ cuts at low and lower-mid frequencies to declutter the sonic space in which the bass is sitting. The trick is to work out what are the essential/fundamental parts of the sonic spectrum that the bassline ‘lives in’ – what frequency makes it sing – and then to check the other individual non-bass parts of your mix and see if you can cut some or all of this particular frequency area away from them without affecting them adversely.

Finding the ‘Sweet Spot’

To do this, you need to find the ‘sweet spot’ – the point in the frequency spectrum where the ‘heart’ of a sound is, the part which gives it its own personal character. The standard method is to solo the part, in this example, we’re talking about a bassline, and use a Parametric EQ with a narrow bandwidth (or ‘Q’) setting and turn the boost right up. Then sweep the EQ all the way along the frequency spectrum and back again, until you find the part that you like and that contains the main character, the ‘sweet spot’, or the essence of that particular sound. Depending on our audio material, we might find that a boost at 100Hz gives our bassline some really nice fatness. So we then take the parametric EQ off the bass and listen to the other parts in the mix to see if any of them contain extraneous low-end information, particularly around 100Hz that you can cut without affecting their overall sound in the mix.

Instruments like pads and drones, and percussion, like toms, can contain lots of bass information that you can remove without it affecting the sound and impact of these parts in the mix. This then clears out a nice big space for your bassline to sit in. But even sounds that you perceive as being in the top frequencies (such as tambourines and shakers ) will likely have extra un-needed bass information too.

Once you’ve done this process, you may find that you don’t even need to ‘boost’ the bass at all. However, if you still feel you want more from your bassline, you can start to boost instead of cut. A boost at the sweet spot might work well. You might also find that a little boost in the lower mid area, perhaps between 800Hz and 2kHz might bring out some of the other harmonics in the bassline and give it a little punch and clarity. As we mentioned in part one, using overdrive or saturation is a fantastic way to add harmonics, helping the bass to be ‘heard’ on smaller playback systems (phones, laptops, computer speakers) as well as felt.

Knowing the ranges that instruments and voices occupy in the frequency spectrum is essential, and which frequencies you choose to boost or cut will be at least partly down to personal taste and of course, every track is different. Whether you boost or cut will be down to the particular sounds that you’re working with, and if these are samples whether they’ve had any prior processing, what source they were sampled from, and so on. So whilst there are no hard and fast rules, as the excellent chart above from Sweetwater shows there are some boost/cut points that tend to produce pleasing results.

50Hz – Increase to add fullness to the lowest instruments or sounds in your mix like kick drums and basslines. Decrease in reduce ‘boominess’ in your basslines or kicks
100Hz – Increase to add more ‘punch’ or ‘hardness’ to bass sounds. Reduce to increase clarity.
200Hz – Increase to add fullness to snares, guitars, mid-range synths etc., reduce to decrease ‘muddiness’ in vocals or other mid-range sounds.
400Hz – A boost at 400Hz might add clarity to basslines, particularly at low volumes. A cut can reduce ‘boxiness’ of low-end sounds.
800Hz – Again, a boost around 800Hz can increase the clarity and punch of bass sounds.

So that’s our introduction to using EQ on your bass sounds to deal with certain problems. In summary, we would always recommend that you try to fix any issue at the source first – choosing the right sounds can save you hours of frustration and work, and when you do use EQ, always try cutting some frequencies to deal with a problem before you boost.

Working with samples brings its own particular challenges. In this 2-part, beginners-guide article, we’re going to look at some of the bass-related problems that can arise when using samples in your productions, and how to fix them. Read Part 2 here.

The bass is one of the defining features of any dance track. The low end of the frequency spectrum is where the majority of the energy is going to be coming from when your track gets played on a club sound system, and how well it translates can make or break the reaction to the tune – so getting it right is essential. Whether you’re using analogue synths, VST’s or samples in your work, regardless of the source you’ll need to pay close attention to the bass.

How Low Can You Go?

One of the great things about sampling is the instant mangling that you can do – just a couple of tweaks on a pitch shifter and a big dollop of reverb and you can turn a syrupy soul vocal into the dark satanic ghost of Barry White. Extreme pitch effects on vocals, making them either high-pitched ‘chipmunks’ or spooky rumbling monsters have been used for years in dance music, and to great effect – but any samples that have been substantially pitched down can be tricky for the home producer to handle. Perfect human hearing generally only goes down to 20Hz and your home monitors – unless you have a subwoofer – are probably only going to respond down to about 50Hz. A club sound system, however, will respond to bass frequencies lower than the range of human hearing.

If it isn’t a bassline or a kick drum, then applying a high pass filter is a wise move – a simple roll off of everything between (approx.) 80-120Hz might be effective as there are often unintended low-end frequencies hanging out in other elements of your track too. Our advice is to go as high as you can without noticeably impacting the sound. Whenever you’re making adjustments to EQ or levels, it’s how things sound in the context of the entire track that’s important, not how they sound in isolation. A part that you’ve filtered the low end out of may sound a little thin and weedy on its own but fit just right within the context of the overall mix. You’ll also want to make sure that the kick and bass are in mono since having them in stereo can cause all sorts of phase issues and pretty much all club systems are in mono too. You can check this using various free imaging plugins and/or a mid/side processor.

If you’re having problems getting your kick and bassline to work together, consider making a cut on the kick drum, starting around 25hz and gradually increasing it. Unless you’re making very tough techno, you actually need much less of the kick than you think. You can also experiment with notching out frequencies around the 80/100hz mark which can help to tame some of the thud and thump. For example, In modern drum and bass, there’s a fetish for tightly controlled, punchy (but not heavy) kick drums. This allows so much more room for the bass to come through and provide the weight. As a second option, it’s often really useful to work on the rest of the parts first. Placing an EQ on all of the channels in your DAW and rolling off unwanted low-frequencies with a high pass filter on every channel except the kick and the bass is a good habit to get into, ensuring that there is nothing at all in the mix to interfere with the low end.

The Single Most Important Tool

When it comes to getting that low end right in your mixes, experience and your ears are the best tools and it’s worth taking the time to ‘train’ your ears, by listening to your own productions and comparing them to those of your favourite producers. How do the kick and bass interact? What’s the balance between them? Which of the 2 can you ‘feel’more? Do they happen together or does the bass play off the kick? This can really shed light on the relative levels of the different parts in a track, and help you to understand the balance and energy that’s needed – something that new producers often struggle with.

One the best pieces of advice that you’ll hear again and again throughout your production career is to check your mixes in as many places as you can: on small computer speakers, studio monitors, headphones, the cheap mp3 player in the kitchen and of course the classic ‘car test’. All of these locations will give you different feedback on how effective your low end is, not to mention the rest of your mix. If you get it sounding good in all those places, there’s a good chance it will translate well anywhere. The big test, of course, is a club system, so if you can, try and find someone who’ll let you road-test your stuff on a big rig; you may be amazed at how different it sounds to how it sounded in your studio.

What Does Your Room Sound Like?

Stepping away from the screen for a moment, room acoustics are essential to decision-making within the production process and to accurate bass mixing too. Whilst you may not be able to professionally acoustically treat your room at home, you can at least always ensure that you and your monitors are all sitting at the corners of an equilateral triangle, which will assist substantially with hearing the ‘true’ sound coming out of the monitors. Soft furnishing and wall hangings can help dampen unhelpful sound reflections too, but it’s learning how your room actually behaves that is the most crucial thing here. If you have a good idea of how the shape and nature of your room affects what your music sounds like, then this will be a huge help when producing and making critical decisions. Again, this information is learned by listening and comparing in other environments, and then going back and adjusting your mix accordingly.

Another low-end issue that can affect samples is this: you scour your Dad’s old records and finally find a cool snippet of audio – it’s got drums, it’s got bass but most importantly it’s got a superb groove. So far, we’re winning. So you sample it, chop it, edit it and loop it and it’s sounding great – until you compare it to a contemporary song when you realise that older tracks often lack the power and impact of modern recordings: they simply don’t have the huge, precision-engineered low end that we’re used to, and so it sounds thin in comparison. You can encounter a similar issue if you pitch a sample up: you start to lose bass information and it starts to sound thin and weak. In this situation, before you start reaching for the bass EQ, you could try a couple of other things:

If it’s a bassline or full track groove that you’ve sampled, you could try playing a sub-bass underneath it – this will increase the low-end impact without affecting the character of the sample – although you’ll need to play it very tightly to make it work. The second, and easier option might be to try using a bass-enhancer plugin – most DAWs come with bass enhancers and of course, there are plenty of external plugins available that will do the same job of generating lower end harmonics to beef up your bass.

There’s More To Bass Than Meets The Ear

Another thing that is useful to remember is that bass and kick drum samples don’t just contain bass frequencies, they are often rich in harmonics and aside from their fundamental frequency will often have lots of other sonic information present as well, including plenty of mid-range and sometimes even some top end too. Experiment with gentle, narrow mid-range EQ boosts to see if that gives your bass sound that extra impact you’re looking for. Alternatively, you could apply some distortion, overdrive or saturation which can introduce some higher frequency content to help the sound cut through the mix. Logic’s stock overdrive is great for this, and generally speaking, tape emulation plugins such as U-he Satin, or UA’s Studer A800 do an excellent job at adding some harmonics.

Getting the low end right is essential if you want to make tunes that seriously bang in the club. There’s no one easy trick, it’s a combination of a number of small techniques that add up to great sounding bass. We have only briefly touched on EQ which we’ll delve deeper into in part 2. Meanwhile, if you’re just starting out in your production career, we recommend that you: start to train your ears, listen to your work on lots of different speakers, and compare your tracks to those by your favourite producers. Do these three things and you’ll definitely be on the right track.

Click here to read part 2…