Master Mixing Course

The Master Mixing Course is specifically designed to hone the skills acquired from the Basic and Advanced Mixing Courses. The lessons learned in this course will define the master mix engineerā€™s mental and technical approach to the most common problems encountered in the mixing process on an instrument by instrument basis.


Class 1: Mastering the Basics of Mixing

What separates a master mix engineer from the rest is not secret information, expensive gear or loads of plugins. It is their mastery of the basic principles of mixing. It is also important to understand the approach different genres of music. This is much more than just ‘liking’ a style of music, it is about understanding the engineering principles and approach that creates that sound

  1. Master the Basics of Mixing
  2. Mixing and Loudness
  3. Mixing for Your Audience
  4. Mixing Pop Records
  5. Mixing Rock/Metal Records
  6. Mixing Hip-Hop/Rap Records
  7. Mixing Dance/Remix/EDM Records
  8. Mixing Retro Records
  9. Mixing Classical/Jazz Records
  10. Mixing Other Styles


Class 2: Mixing Acoustic Drums

Historically, engineers have always been defined by their ability to get great drum sounds. This measure was created due to the many challenges of getting great sounds with acoustically recorded drums. These lessons will teach you the essential elements for getting great acoustic drum sounds.

  1. Mixing Acoustic Drums
  2. Assessing Drums Sounds
  3. Phase Aligning Drums
  4. Gates vs. Automation
  5. Mixing Bass Drums
  6. Mixing Snares
  7. Mixing Toms
  8. Mixing Hi Hats and Cymbals
  9. Mixing Room Mics
  10. Sample Replacement
  11. Working With Effects


Class 3: Mixing Programmed Drums and Percussion

Programmed Drums have the advantage of isolated sounds, but also offer many challenges that are not obviously apparent. These lessons will teach you how to work with programmed drums and also cover mixing acoustic percussion.

  1. Mixing Programmed Drums
  2. Mixing Programmed Bass Drums
  3. Mixing Programmed Snares
  4. Mixing Programmed Fills
  5. Mixing Programmed Hi Hats and Cymbals
  6. Mixing Programmed Percussion
  7. Making Programmed Drums Sound Real
  8. Mixing Programmed Drum Effects
  9. Mixing Acoustic Percussion
  10. Mixing Sampled Loops


Class 4: Mixing Bass and Guitars

The foundation of a rhythm section is defined by the way bass and guitar sounds are blended in with the drums. Guitar and Bass may actually be the most difficult of instruments to mix effectively because of the complexity and range of frequencies they occupy. These lessons will cover the broad spectrum of challenges that come with getting great sounds for guitars and basses.

  1. Working With low Frequency Instruments
  2. Mixing Bass Amps and DIs
  3. Re-amping Basses
  4. Mixing Programmed Basses
  5. Mixing Acoustic Guitars (single and multi-mic)
  6. Mixing Clean Electric Guitars
  7. Mixing Distorted Electric Guitars
  8. Re-Amping Guitars
  9. Mixing Guitar Solos
  10. Mixing Guitar Effects


Class 5: Mixing Piano, Classic Keys and Synths

Keyboard Instruments cover an extraordinarily wide range of sounds, tonal colorations and frequencies. This means that they serve many different roles in a mix from occupying the basic rhythm section, to groove generating melodic rhythms, to atmospheric pads and all the way up to solo or lead instruments.

  1. Mixing Acoustic Piano
  2. Mixing Classic Keyboards
  3. Mixing Organs and Rhodes
  4. Mixing Electronic Pianos
  5. Mixing Analog Synths
  6. Mixing Pads and Strings
  7. Mixing Lead Synths
  8. Mixing Percussive Melodic Synths


Class 6: Mixing Orchestral Instruments

Orchestral Instruments are widely used in almost all styles of music. The wide range of sounds and rich history offer many challenges to the mix engineer’s ability to clearly define each instruments unique character and sound.

  1. The Layout of an Orchestra
  2. Mixing Strings – Group and Solo (Bass, Cello, Viola, Violin)
  3. Mixing Woodwinds (Flutes, Saxes, Clarinets, Oboes, Bassoons)
  4. Mixing Brass Instruments (Trumpets, Trombones, Big Brass)
  5. Mixing Pitched Orchestral Percussion (Vibes, Xylophones, Triangles Etc…)
  6. Mixing Tympani
  7. Mixing Harpsichords
  8. Mixing Harps


Class 7: Mixing Miscellaneous Instruments and Sound Effects

There are many instruments that fall between the cracks of most songs. But their unique nature and sound require special treatment in order to preserve their authenticity and character in a mix.

  1. Mixing Ukelele and Mandolin
  2. Mixing Banjos, Pedal Steel and Slide Guitar
  3. Mixing Blues Harp and Harmonica
  4. Mixing Accordions and Harmonium
  5. Mixing Sound Effects, Explosions & Gunshots
  6. Mixing Environmental Sounds
  7. Mixing Cinematic Effects


Class 8: Mixing Lead Vocals

No single instrument is featured more in music than the lead vocal. Because the human ear is more sensitive to the human voice than any other instrument, mixing vocals requires extra special attention.

  1. Mixing Male Vocals
  2. Mixing Female Vocals
  3. De-Ess, De-Breath and Plosives
  4. Pitch Correction (Natural and for Effect)
  5. Mixing Reverb and Early Reflections for Vocals
  6. Mixing Delays For Vocals
  7. Mixing Telephone, Megaphone and Distortion Effects
  8. Automation Techniques for Vocals


Class 9: Mixing Background and Group Vocals

Mixing background and group vocals also offers many challenges in the mixing process. Panning, balancing harmonies, correcting timing and pitch issues are just a few.

  1. Mixing Vocal Doubles
  2. Mixing Vocal Harmonies
  3. Mixing Group Harmonies
  4. Adding Size and Numbers to BG Vocals
  5. Effects Processing Techniques For BG Vocals
  6. Mixing Gang Vocals
  7. Mixing Choirs and Choral Groups


Class 10: The Finished Mix

The final lessons in the Master Mixing Course are designed to focus your approach on the fundamental elements that make a mix into a finished record. Without these basic elements any mix, no matter how good the sounds, will never come to life.

  1. Establishing the Groove of a Song
  2. Establishing the Shape of a Song
  3. Mixing the Transitions
  4. Guiding the Listener’s Attention
  5. Mixing and the Art of Deception
  6. Bringing Emotion Into a Mix
  7. The Art of Mixing – Final Thoughts


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