1. Advanced Compression: Dynamic Control and Creativity

Compression is one of the most powerful tools in mixing, but its advanced use involves understanding not only its technical function but also its creative possibilities.

• Parallel Compression (New York Compression)
  Parallel compression is a technique that allows you to apply compression to a track without losing its natural dynamics. This is ideal for maintaining the energy of the original signal while controlling its dynamic range.

   

  How to do it: Create a copy of the original track and apply aggressive compression (fast attack, low threshold). Then, blend the compressed signal with the uncompressed signal to get a mix that combines dynamic control with the natural sound of the original track.
  Common Application: This technique is particularly useful for drums, vocals, and bass, as it allows you to maintain presence without losing clarity or punch.

• Multiband Compression
  Multiband compression allows you to apply compression independently to different frequency ranges, which is useful when certain elements of the spectrum require more control than others.

   

  How to do it: Using a multiband processor (such as FabFilter Pro-MB or Waves C6), split the signal into several frequency bands. For example, you might apply more aggressive compression to the low frequencies to control the kick drum and bass while leaving the higher frequencies more open to preserve the brightness and clarity of vocals or synths.
  Common Application: In electronic music mixes, it’s very effective for controlling sub-bass, or in rock mixes to prevent the mids from becoming “muddy” due to the density of other instruments.

2. Advanced Equalization: Sculpting the Sonic Spectrum

Advanced equalization isn’t just about boosting certain frequencies; it’s about creating space for each instrument to have its unique place in the sonic spectrum.

• Subtractive Equalization
  Subtractive equalization involves reducing frequencies instead of boosting them to make the mix sound clearer and more balanced. This is essential to avoid masking and frequency buildup.

   

  How to do it: Instead of boosting frequencies to give an instrument “more presence,” identify the frequencies causing buildup and cut them. For example, cutting 200 Hz on a guitar can free up space for the bass, or cutting 500 Hz on a vocal can allow the drums to come through more clearly.
  Common Application: This approach is especially useful in dense mixes, such as in progressive rock or jazz, where many instruments compete for the same space in the spectrum.

• Sidechain Equalization
  Using equalization in a sidechain allows one signal to trigger the processing of another, helping to create a cleaner mix with more space between elements.

   

  How to do it: Use an EQ plugin with a sidechain feature so that one signal modifies the EQ behavior of another. For example, you can make the bass filter the frequencies of a synth track at certain points to prevent both from occupying the same frequency range in a dense mix.
  Common Application: Common in electronic music, especially in genres like house or dubstep, where bass and synths must coexist without masking each other.

3. Advanced Reverb: Creating Dynamic Environments

Reverb not only adds a sense of space, but when used correctly, it can bring depth and dimension to a mix. There are several advanced ways to use reverb beyond its traditional function.

• Pre-Delay Automation
  Pre-delay is the time between the direct sound and the start of the reverb. Automating pre-delay in a mix can create a dynamic effect that changes throughout the track, giving the mix more life and movement.

   

  How to do it: Automate the pre-delay parameter in different sections of the song. For example, during verses, you can reduce the pre-delay to maintain the intimacy of the vocals, while in the chorus, you can increase it to create more space and expand the sense of the mix.
  Common Application: This technique is commonly used on lead vocals, but also applied to drums and percussion to give them a unique character and to make the musical impact evolve throughout the song.

• Long vs. Short Reverb (Sound Contrast)
  Using short reverb (with fast decay times) on certain elements and long reverb (with long decay times) on others can add complexity and space, preventing sounds from “muddying” each other.

   

  How to do it: Apply short reverb to rhythmic elements like drums and percussion to keep them defined, and use long reverb for melodic instruments or vocals to give them more depth.
  Common Application: In orchestral music or soundtracks, where it’s essential to separate the rhythmic from the melodic parts.

4. Panning Techniques and Spatial Analysis

Panning creates the sense of space and direction in a mix, and in complex productions, advanced panning techniques can generate a more dynamic and immersive stereo field.

• Automated Panning
  Automated panning involves moving a sound across the stereo field during part of the song, which can create a sense of movement and additional interest.

   

  How to do it: Use panning automation on a track, such as moving a synthesizer left to right across a solo or in the bridge of the song.
  Common Application: This technique is often used in experimental or electronic music, where elements of the mix need to stand out dynamically.

• 3D Panning
  3D panning refers to placing sounds in a three-dimensional space to create an immersive auditory experience. This is achieved using multichannel mixing techniques or specialized plugins to emulate a sense of depth and height.

   

  How to do it: Use “spatial audio” plugins like Waves Nx or Soundfield to manipulate the position of sounds in a virtual 3D environment.
  Common Application: Used in high-end mixes for video games or experimental music, where the sound environment must feel immersive.

5. Mixing Bus Processing: Glue and Cohesion

Using processing on the mix bus (also known as the “Mix Bus”) is essential for giving cohesion and unification to the mix. This may include light compression, EQ, saturation, or harmonic excitation.

• Mix Bus Compression
  Applying compression on the mix bus can unite all the tracks, giving them a “glue” feel without crushing the dynamics too much.

   

  How to do it: Use transparent mix compressors, like the SSL G-Master Buss Compressor, with a subtle threshold and a compression ratio of 2:1 or 3:1. Adjust the attack and release to ensure the compression is gentle enough not to affect the transient of the instruments.
  Common Application: In pop, rock, and electronic mixes, mix bus compression is used to give the mix a “sense of unity.”

• Saturation and Harmonic Distortion
  Applying saturation on the mix bus (or individual buses) adds pleasing harmonics that can give more body to the mix.

   

  How to do it: Use saturation plugins like Waves J37 Tape or Universal Audio Studer A800 to add light analog saturation, thickening the low and mid frequencies and providing warmth to the mix without losing clarity.
  Common Application: Frequently used in vintage music mixes, soul, rock, or electronic music.

Conclusion

Mastering advanced mixing techniques is essential for audio engineers looking to take their productions to the next level. The key to a successful mix lies in the balance between technical control and creative expression, using tools and techniques with a clear purpose in mind. Advanced mixing is a process that goes beyond applying effects; it’s about creating a soundscape where each instrument has its place and where the music flows naturally.