So what’s the process to get the top end of your mix glistening? Think about the channels that you want to stick out in the mix as sounding bright.įor most productions I work on this would be: This is because the upper frequencies battle for space in the mix. Mixing too many bright channels means you’re also more likely to struggle with harshness. So if all the channels in your project are bright, then no channel will stick out as sounding particularly bright. From there we can add contrast to make your music jump out of the speakers. Below I’ll discuss a few ways to prime your listener by creating context. We can use this reference frame to our advantage while mixing. The Solution: Create Context, Then Contrast This affects our understanding of tonal balance.įor example, if we listen to a mix with very piercing high frequencies and then to a well-balanced mix, we might perceive the second (well-balanced) mix as sounding dull. Our ears are tuned to the context of what we have just heard. Our perceptions can be fooled by our frame of reference. If everything is mixed powerful, nothing sounds powerful.

If everything is mixed wide, nothing sounds wide.

If everything is mixed bright, nothing sounds bright. The mistake is trying to make the whole song as bright, wide, and powerful as possible. Until now, everyone has been teaching production totally backward.īut if you just want to learn all about widening and brightening specifically, keep reading. We put together a brief training that covers a totally new approach to music production.

I’m guessing you’re here because you want to make your mixes sound professional. Get industry-quality every time (steal this framework)

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