There is a distinct difference between a mix that sounds amateur and one that sounds professional, and it often comes down to the use of
Getting a lead vocal to sit perfectly in the mix is a struggle for any home studio engineer. Many producers simply stack three aggressive compressors
We often reach for a compressor when we’re looking to control dynamics. While compression is great for tone and glue, it is actually quite poor
In mixing, we often speak about left/right (width) and top/bottom (frequency), but the “Z-axis” (front/back) is often overlooked. Today, we’ll discuss how to push sounds
Professional productions often sound huge because the arrangements are actually quite small… Don’t believe me? Today, we’ll look into the “Delete” key as a production
Today, we’re going to talk about Sidechaining. But instead of sidechaining the bass to the kick, we will be using “ghost” (muted) trigger tracks to
Did you know that when a mix sounds powerful and balanced at conversation level, it will sound massive at live venues, festivals, and clubs? The
Most of our students reach for a subtractive EQ when a sound is “thin” or “dull.” But I would argue that many EQ problems are
Mastering today is very different to a couple of decades ago. I think people are sometimes confused by the fact that we’re called Mastering.com. We
Picture this: You’ve nailed your mix. But when you play it back-to-back with some of your favourite songs, something is still missing. That’s where mastering
