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Playlist of The Low End Mix Trick

  • The Low End Mix Trick -


    ►► Create radio-worthy songs from your bedroom. Download my FREE Radio Ready Guide and learn my 6 step process →

    Something I learned from Jacquire King to get your low end to sit just right in the mix, no matter where you mix.

    For my free mixing video series, click here:

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  • My Favorite Trick For Fat And Tight Low End On Mixes | Slate Digital


    Ask any mix engineer, “What’s the hardest thing to do in a mix?” and you can bet they’ll answer, “Getting solid, big and tight low end.” In this vlog I’ll show you one method that I like to use to get big and tight bottom end.

    Watch the video to learn this awesome trick and click Subscribe to get updates when we release new Vlogs.

    Song credit:
    Slightly Left of Centre

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  • Mixing Low End Like A Pro


    In this video, we're covering essential tips and techniques for mixing bass you can FEEL!

    Song: James Garlimah - Ocean Eyes:
    BGM by Bombs and Bottles:

    ►DAW Presets & Templates:
    *NEW* Divine Mixing Vocal Chains SR (StudioRack):
    *NEW* Divine Mixing Vocal Chains V3 (Waves):
    Divine Mastering Chains (Waves):
    Divine Mixing Waves Template (Logic Pro X, Cubase & Pro Tools):
    Divine Mixing Drum Chains (Waves):
    Divine Mixing Template One for Stock Plugins (Logic Pro X, Cubase & Pro Tools):

    ►Video Training Courses:
    Divine Beat Mixing (Mixing & Mastering Course):
    Divine Mixing Session 1 (Mixing & Mastering Course):
    Divine Mixing Session 2 (Mixing & Mastering Video Course):
    Hip Hop Vocal Production ( Course):

    ►Synth Presets & Drum Samples:
    8oh!8 Bass Presets for Serum -
    The Niche Kit (Creative Drum and Loop Kit) -
    Urban Dreamscapes for Serum -

    ►My Studio Gear

    ►Let's Connect


  • Kick and Bass Low End Mixing Tricks w Ulrich Wild, Cameron Webb & Warren Huart: Produce Like A Pro


    Before you mix kick drum and bass guitar, make sure you download this cheat sheet to reference when mixing:

    Used in this video:
    Waves REQ:

    View the full courses here:
    Mixing In The Box with Warren Huart:

    Mixing and Producing Punk with Cameron Webb

    Mixing Metal with Ulrich Wild:

    Learn more here:

    Sign up here to get exclusive videos and content

    Produce Like A Pro is a website which features great tips to help the beginning recordist make incredible sounding home recordings on a budget.

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  • 3 Golden Rules for Low End Hip Hop Mixing | Lu Diaz


    Multi-platinum producer/mixer Lu Diaz (Jay Z, Kodak Black, Pitbull) gives 3 tips for blending 808s and kicks to get a clean, punchy low end in your tracks. Get more hip hop production tips:

    1:16 Tip #1: Enhancing 808 Harmonics & Tone
    4:29 Tip #2: Multiple EQs for the Kick
    6:58 Tip #3: Sidechaining Kick & 808

    Plugins used by Lu Diaz in this video:

    Vitamin Sonic Enhancer:
    PuigTec EQs:
    F6 Floating-Band Dynamic EQ:
    SSL E-Channel:
    API 550:

    Music: Feel It Babe by Realzz. Produced by The Track Burnaz.

    Get the latest updates from Lu Diaz:
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  • 8 Tips for Amazing Low End!


    ➡️➡️Click here to learn more about these tips & download the cheat sheet:

    Tips for Mixing Low End:

    Monitoring - Can you hear the lows?

    You can’t mix what you can’t hear. Should you get a sub woofer? Closed back headphones will give you an extended low end. The Blue Headphones I use have an extended low end, they are not that accurate, however I am used them. While you’re learning your room don’t be afraid to check in other environments. There is nothing wrong with the car test, or the boombox test, or any other multiple ways of double checking what you are hearing! Many amazing Mix professionals check their mixes on multiple systems. Once you’ve got the low end to translate on many different systems you will start to understand how it should sound in your own mix room.

    Not All Low End Mix Tips are Created Equal

    Mixing a live recorded Bass Guitar is very different from mixing a programmed bass line, also mixing a live Kick Drum is very different from mixing a programmed one.

    Use A Frequency Analyser

    Using a Frequency Analyser will really help you learn what you’re hearing, especially if you’re working in an untreated room with issues and using headphones that don’t have an accurate low end.

    Don’t Boost What You Can’t Hear

    If you work mainly on 4, 5 or 6 inch monitors you can create great mixes as long as you understand you won’t be reproducing super lows through those smaller speakers. Don’t boost the frequencies that the speakers can’t reproduce effectively, if you do boost them and they start to become audible then you end up with excessive low end which will become evident in other systems.

    Don’t be afraid to high pass!

    Create space in the mix for clean Low End for the Kick Drum and Bass. Take care of your high passing on individual channels rather than trying to fix on the stereo master bus.

    Evening out Low End on Organic Instruments

    Plug ins like Waves RBass not only adds consistent low end it also adds harmonics, which (particularly on programmed sounds) can add extra sonic characteristics to your bass sound. Programmed Bass Synths and Bass Guitars will stand out of the mix more if you add definition by adding presence, high mids and even saturation.

    Keep Your Low Lows Mono

    High frequencies are very directional, low lows are not. Keeping the Kick Drum and Bass centred. Removing low information from the sides will help them feel firmly in the sides, giving your mix more width.

    Solve Your Problems inside of the Mix, not on your Master Bus

    This is a big one for me! I like to find the issues inside of the mix and deal with them at their source. Trying to fix low end on your Master Stereo Bus (Mix Bus) should be a last resort, removing above 20hz will severely remove real low end and compromise your mix. So if you feel like you’re reaching for this area then look for the cause inside of the mix, looking at the individual elements that generate the low end.
    ❤️My Favorite Plugins:
    ➡️Waves MV2:
    ➡️Waves RBass:
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    ➡️Renaissance Compressor:

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    ❤️❤️Free 3 Part Mixing Course:

    Sign up here to get exclusive videos and content


    Giveaway Winners:

    Produce Like A Pro is a website which features great tips to help the beginning recordist make incredible sounding home recordings on a budget.

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  • Mixing Low End...The Right Way


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    my personal mixing, mastering, & sound design service for producers -

  • The Low Volume Mix Trick -


    ►► Create radio-worthy songs from your bedroom. Download my FREE Radio Ready Guide and learn my 6 step process →

    One of the simplest things you can do to ensure your mix sounds good everywhere is to play with volume.

    And I don't mean volume automation I mean checking your mix at different volumes. Specifically at super low volumes.

    A lot of times a mix will fall apart when you pull the volume way down, say -40db. That's a problem.

    In today's video, I share with you this simple little mix trick and the 4 things you need to listen for when checking at ultra-low volumes!

  • Mixing Low End - Get Cleaner, Tighter, Louder Bass


    Tricks and tips to get a more professional low end sound.

    ►Mixing Presets & Templates:
    *NEW* Divine Mixing Vocal Chains V3 (Waves):
    Divine Mastering Chains (Waves):
    *NEW* Divine Mixing Drum Chains (Waves):
    *NEW* Divine Mixing Vocal Chains V2 (Waves):
    *NEW* Divine Mixing Vocal Chains (Logic Pro X & Cubase):
    Divine Mixing Waves Template (Logic Pro, Cubase & Pro Tools):
    *UPDATED* Divine Mixing Template One (Logic Pro X 10.4, Cubase & Pro Tools):

    ►Video Training Courses:
    *NEW* Divine Beat Mixing (Mixing & Mastering Course):
    Divine Mixing Session 1 (Mixing & Mastering Course):
    Divine Mixing Session 2 (Mixing & Mastering Video Course):
    Hip Hop Vocal Production ( Course):

    ►Synth Presets & Drum Samples:
    8oh!8 Bass Presets for Serum -
    The Niche Kit (Creative Drum and Loop Kit) -
    Urban Dreamscapes for Serum -

    ►My Studio Gear

    ►Let's Connect


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  • 5 Lies About Mixing Low End


    Have you ever heard any of these low end mixing lies? Watch this video to learn how you can avoid these mix-destroying mistakes!
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    Tags: home recording,mixing,low end,joey sturgis tones,joey sturgis

  • How to EQ Kick and Bass for Better Low End | LANDR Mix Tips #9


    Kick and bass can be the most difficult things to get right in a mix.

    Subscribe to LANDR on YouTube:

    In this video, I’ll show you some of the best ways to EQ kick and bass to get the low end you’re looking for.

    Before we start, the specific EQ frequencies we’re using in this video are just starting points. As always you have to use your ears to determine the best ranges to apply EQ.

    Beginner and intermediate producers almost always underestimate the effects of their listening environment.

    You could perfect your mix in a bad sounding room—only to realize that it’s completely wrong when you hear it in a different environment.

    Your low end is particularly affected by your mixing room. But there are a few things you can do to make sure you’re judging your bass frequencies as accurately as possible:

    Mix reference as often as you can: Referencing different tracks in different environments will help you get an idea of where the biggest flaws are in your room.

    Use good open headphones to check lows: If you know your room is flawed, a good pair of headphones can go a long way to help you make mix decisions.

    If you have a good idea of what frequencies are problematic, you’ll know to be careful when EQing them.

    When you first start mixing with EQ, it seems like you could just boost the low end to get that powerful bass you’re looking for.

    Too much low end energy in the mix can actually make your tracks sound weaker.

    All speaker systems have a limit of how low they can go. If there’s a lot of sonic information at a lower frequency than a speaker can play, it will struggle—and fail—to reproduce it.

    If your kick or bass instruments have too much sub bass, you’ll need to use a hi-pass filter to reduce it.

    By bringing up an EQ on this bass track I can see right away that there’s a lot happening at very lowest frequencies.

    I’ll start with a 48 db/octave low cut at 30 Hz. The timbre of the bass hasn’t changed at all, but I can already hear a bit of a tightening effect when I add the kick back in.

    I’ll gradually move the frequency of the hi-pass filter up until I start to hear a negative change in the sound of the bass.

    It’s actually best to do this with your eyes closed since the visual feedback from an EQ can affect how you judge low end.

    I’ll backtrack a bit right as I start hear the body of the bass get weaker . That should be a pretty good spot for the high-pass filter.


    EQing a track is like putting together a puzzle. You have to shift things around to make space.

    For your kick and bass to punch you need make space for them in the mix.

    The inverse is also true. If your mix doesn’t have the right space for your bass, you’ll never get the beefy sound you’re looking for.

    Example: This kick drum sounds great solo’d, but I can tell that it’s fighting the other elements when I listen in the mix. The low-mids is especially congested.

    To deal with this, I’ll carve out some of this area in the kick to let the rest of the mix sit. I’ll start by sweeping a fairly tight Q, -10 db cut in the 200-500 Hz range.

    As I sweep my EQ band I can hear the other mix elements becoming more clear right around 300 Hz, so I’ll park the filter here.

    Lows are the foundation of great kick and bass tracks, but that’s not all there is to the story.

    “Big” and “punchy” kicks and basses often have a lot going on in other frequency ranges.

    Experiment with EQ in ranges other than the low end to find which frequencies bring your kick and bass into focus.

    As I’ve been EQing I’ve noticed that the kick lacks the presence it needs compete with the rest of my mix. I’ll take another EQ band, but this time a more bell shaped 6dB boost.

    Sweeping from 1kHz-5kHz, I can hear the point of the kick pop out at about 2kHz. In the mix, this gives my kick a ton of authority and provides nice separation from the bass.

    In some cases, adding a bit top end detail can bring out the articulation in the bass. I’ll check it out by sweeping an even gentler broad Q boost around the high end—listening from about 5k-10k.

    With this bass sound, there’s not a lot going on in the top end, so I won’t bother boosting any frequencies here.

    That’s why you always have to rely on your ears first to find out where to add EQ.

    General guidelines can be helpful, but they may not always be perfect. Make sure to decide for yourself in the context of your own tracks.

    Learn how to get kick and bass sitting right in your mix:

    Try LANDR for free:
    Subscribe to LANDR on YouTube:
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  • The Parallel Mix Trick -


    Download my FREE mixing series:

  • Andrew Scheps Vocal Mixing Trick | Get Your Vocals To Cut Through The Mix


    In this video I go over one of Andrew Scheps parallel vocal mixing processes using 3rd party plugins, then teach you to achieve the same effect with stock plugins. This technique will help your vocals cut through even the densest of mixes.

    Explanation - 1:03
    Raw Mix - 3:09
    Scheps Process with 3rd Party Plugins - 3:49
    Scheps Process with Stock Plugins - 6:07

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  • Compression Trick For Glorious Punchy Low End



    Fun little trick for a bigger, punchier low end.

    Home Studio Corner:

  • How And Why To Mono Your Low End - Tech Tips Volume 32


    Watch More Here!:

    This week we're back with another set of Tech Tips, this time in Logic Pro with new tutor Rory Webb from Hyper Production.

    Working under aliases such as Bailey and Knightley which, focuses more on electronic music, Rory has also been involved in sessions with the likes of David Guetta, Adele and Clean Bandit, all but to name a few and gained a significant amount of experience in many fields, from DJ’ing & Producing to Engineering & Teaching! So it’s fair to say, he knows a thing or two about music.

    Over these ten videos, Rory looks at some of the fundamental ways you can improve the sound of each element of your tracks so they really cut through the mix. From EQing vocals and creating your own unique layered kicks to understanding the importance of send/return fx and using compression, these tips and tricks will help you get the most out of your tunes and really make them shine ready to be played to a wider audience.

    Although this course is in Logic Pro, as with all our courses, these techniques can be applied to any DAW.

    Check it out and get the lowdown on how to polish your tracks and make them stand out above the rest!

  • Multiband Compression: Mastering Low End Punch


    Utilizing multiband compression can make getting a fat, full and punchy low end an incredibly straight forward and easy process.

    Subscribe for music production tutorials →

    Get 50 Technical Mixing & Mastering tips right now →

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    If you have any questions, let us know in the comments.

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    Thanks for watching!

  • 5 Minutes To A Better Mix: Kick Drum Low End -


    Part 9 of 31 - In this video I show you how to add more fatness and low end to your kick drum in the mix using a simple signal generator plugin. Watch and learn!

    Download my free eBook The #1 Rule Of Home Recording for more tips

  • 3 Low End Mixing MISTAKES That Are Killing Your Mixes


    These 3 low end mixing techniques are taught over and over again in colleges and online...

    But if you're mixing rock and heavy music, these could actually be mistakes that are killing your mixes - not helping them!

    Here are 3 common low-end mixing mistakes that should avoid when mixing rock, metal and hardcore.

    ☛ Grab your FREE mixing cheatsheet and get on my list for the best audio training on the web:

  • 5 Quick Master Bus Mixing Tricks - Warren Huart: Produce Like A Pro


    ➡️ ➡️ Before you start using the master bus, make sure you download this FREE Master Bus Mixing Tricks cheatsheet right now:

    Today we are talking about 5 Quick Master Bus Mixing Tricks!

    1. Automate the output of your last plugin 2:52

    2. Use a compressor with a side chain HPF 4:47

    3. Bled Clean and Parallel Busses 9:42

    4. Automate limiter threshold 23:07

    5. Automate master buss EQ 23:57

    More Quick Mixing Tips:

    5 Quick Compression Mixing Tricks

    5 Quick Saturation Mixing Tricks

    5 Quick Delay Mixing Tricks

    5 Quick Reverb Mixing Tricks

    Sign up here to get exclusive videos and content

    Produce Like A Pro is a website which features great tips to help the beginning recordist make incredible sounding home recordings on a budget.

  • Mixing 808s -


    ►► Create radio-worthy songs from your bedroom. Download my FREE Radio Ready Guide and learn my 6 step process →

    If you work with 808s in your hip hop, rap, or EDM tracks then listen up to today's video.

    My buddy, Multi Platinum mix engineer Irko (Jay-Z, Kanye, Pitbull) has got three of his best tips to getting the most out of your 808s in the mix.

    He's funny, to the point, and spot on with his tips so enjoy!

    Also be sure to subscribe to his YouTube channel and show him some love:

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  • LOW END CHECKLIST: Are You Doing These Things?


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    In this video

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  • How To Mix KICK AND SUB BASS Properly | Control The Low End


    In this tutorial I'm going to teach you how to mix kick and sub bass properly! ????
    You've been asking for this tutorial for a long time, so here you have it! Show some love!

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  • How To Get A Tight and Balanced Low-End When Mastering Music.


    Download Mastering The Mix plugins used in this video:

    In this video, Mo will be taking a look at a typical in-the-box mastering session, more specifically the low frequencies. Mo goes through every stage of the mastering chain showing you how to keep your low-end in check. He then uses Mastering The Mix plugin BASSROOM to extend and enhance those lows.

  • Tips for Mixing Low End and Making Executive Mix Decisions


    Instant access to every in-depth mixing course from Matthew Weiss:

    // A video on managing low end and making executive decisions as a mix engineer.



    Hey, folks. Matthew Weiss —,

    This tutorial is going to be about managing low end, but it's also going to be about making executive decisions as a mix engineer.

    So let's check out this chorus.

    [mix plays]

    So, really cool, but if you're listening the way I'm listening, you will notice a couple of things that maybe could be better. The first is that the low end is a little bit cloudy and muddy.

    Not terribly cloudy and muddy, but a little bit, particularly in the sub range. It's hard to sort of differentiate between all of the elements going on there, and it kind of all sounds like one kind of globby low end.

    The other thing that's going on is that it doesn't feel like there's a lot of movement in the low end in particular. Like, there is movement there, but it really feels like there could be more. It's more-or-less streamlined.

    So let's breakdown how we can remedy that. So, first I'm going to play with the effects that I added, and then I'm going to explain my thought process.

    [mix plays]

    So, we'll notice that when I play it that way, there's a lot more bounce and groove to the record, but I don't feel like I've lost anything. It just feels like the energy has been rearranged. It still feels very full and very powerful.

    So here's my thought process. I have four elements that are occupying a lot of space in the sub 80Hz range. I have these layered kicks, which I'm thinking of as one element, I have these 808s, and then I have a Moog Bass, and I have a hook low lead.

    So I'm asking myself what I want the low end to do. If I want it to sound like this sort of like, heavy electronica, pseudo-rock kind of thing, like a Nine Inch Nails sort of thing, I probably want the low end of that Moog bass, that sort of streamlined, unending low end to be dominant.But, that's not what this record is. This record is meant for dancing purposes, and so I want a bounce to show up, and that bounce is going to come from my more dynamic elements — my kick and my 808.

    So those are the elements that I want to give the sub to, because that's what's going to give that physical energy that gets people to move on the dance floor.

    Well, in order to do that, what I really need to do is therefore take out sub range in my other elements. The Moog bass and the hook low lead.

    So I'm going to bypass my effects here, and now I'm going to breakdown what I'm doing.


    So it's important to note that this Moog bass has a lot of really gnarly, cool overtones in the upper-midrange. So I can probably remove a good amount of sub without even damaging the strength of this sound.

    So my first move here is going to be an EQ.

    [synth, adjusting EQ]

    Right? I very clearly shifted the energy more toward the upper-midrange, and I'll show you exactly what's going on here. I even have a little graphic line to help illustrate it.

    So at 80Hz, I'm dipping out about 3.5 decibels with a very wide slope. You'll see the slope of this EQ stretches all the way up to this bump right here. This bump is 1.2kHz. That's like a 4, 5 decibel boost that it's getting right there.

    So I'm diminishing energy in the low end, all the way up to the mid-range where now, the mid-range is getting that big power.

    Before and after, one more time.

    [synth, before and after EQ]

    Okay. Next EQ.


    If you're listening with a sub, you will hear a very dramatic difference. If you are not listening with a sub, you might not notice the most profound difference.

    One more time.


    So here at about 70Hz, steep high-pass filter. Just cutting everything out of the sub, and a little bump at 200Hz.

    So again, shifting energy. The 200Hz energy is going to give the impression of bass without actually putting low end in there. It's going to be the kind of bass, that primary bass range that pokes through all of these other bass elements, because it's resting a little bit above those primary fundamentals.


    So again, it doesn't feel like I'm losing bass, it just feels like I'm moving it up in register.

    A little compression here with some make-up gain.

    [synth with compression]

    Right? We feel that texturally, it becomes solid. The last thing that I'm doing is throwing on a compressor that is keyed to the kick, so that this bass ducks out when the kick hits.

    Here on this hook lead, I'm doing some EQ that is just tonally making it feel a little bit more focused. This is not a specific technique that you are going to be able to apply everywhere, this is just me going through the sound and doing what I like. It's a pretty subtle sound, I'm going to turn it up for now.


  • Mixing In The Box Strategies With Grammy Winner Jacquire King -


    A few months ago, when Grammy winner Jacquire King (Kings Of Leon, James Bay, Mutemath) told me he was transitioning to mixing all in the box, I knew I had to get him to share his approach with you.

    Last week he graciously sat down with me to talk in detail about his mixing approach and philosophy, specifically how he starts a mix when working in the box.

    In this action packed interview Jacquire walks you through his mix buss approach, a secret trick he uses to gain stage and get the low end of his mix perfect, as well as his approach to recording music so that the mix comes together faster. Watch, pay attention, and take notes. Your music will thank you for it later.

  • Mixing Bass To Cut Through On Laptop + Phone Speakers -


    ►► Overwhelmed by EQ when mixing? Just download my FREE 7 Step EQ Checklist →

    No matter how awesome your bass sounds in your studio monitors or headphones it needs to sound great in the real world.

    And what do lots of people listen to music on in the real world? Crappy laptop and phone speakers that put out absolutely zero low end!

    So that the last thing you want is for your bass to disappear when someone fires up your song on their iPhone or laptop while they are working or surfing the web.

    Today I'm going to show you a simple trick you can use to ensure your bass tracks will cut through on ANY crappy small speaker.

  • The Neve 1073 Kick Drum Trick |


    The Neve 1073 Kick Drum Trick (5 Minute Mix Tips) | Mix Better Now

    Hey friends! Here's the first of many 5 Minute Mix Tips... In this tutorial I go over what I like to call The Neve 1073 Kick Drum Trick where we take advantage of the fixed EQ points the 1073 has to really enhance the sound of the kick drums in our mix.

    Please be sure to SUBSCRIBE, LIKE and ENJOY :-)

    Don't forget to sign up for the Mix Better Now Newsletter to get your Swag Bag of Free Multi-Track Sessions, Free Mix Templates, Free Drum Samples, Free Reverb Impulse Responses, Free Plugins and more, here:

    Please feel free to drop me an email with any questions at! :-)

  • How to Improve Your Mix Using Mid-Side EQ Techniques


    Learn how to give your tracks a wider, more open sound and make them stand out in the mix.

    Plugins used in this tutorial:
    Scheps 73:

  • 6 Common Reverb Mistakes to Avoid


    ➡️➡️Click here to download the cheat sheet:
    ➡️➡️3 Vocal Reverb Tips:
    ➡️➡️5 Quick Reverb Mixing Tricks:

    1. Forgetting to EQ Your Reverbs
    On my track, there is a reverb in my snare, and what I’ve also done is high passed before the reverb, because there is a low rumble at about 30 or 40 hertz, that we just don’t need to hear. What will happen if you don’t high pass, is the reverb will exaggerate that low end and give us a horrible, ugly, rumble which will kill all the definition and make the low end a mess.

    2. Setting the Wrong Reverb Time
    If there is a second between the end of one phrase and the start of another, you would think to put a second’s worth of decay on it, but I would actually set it a little bit longer, because there comes a point when it is decaying and it will be pretty inaudible.

    Use your DAW to find out how long it is between each phrase, and use that to get an idea of what works. Going slightly longer than the projected time is generally a good strategy, though, because then you will not get to a point where the decay is inaudible.

    3. Putting Reverbs Directly on Audio Tracks
    If you put the reverb on the track directly, especially after you’ve been mixing, it is going to completely change the level. For example, If you have a lead vocal, and you want to make it sound like it’s just coming forward a bit, putting the reverb on the track will suddenly make it much quieter and you will not get the desired effect. Instead, create an auxiliary, and put the reverb on there, preferably with some EQ either on or before the reverb as well!

    4. Underestimating Stock Reverbs
    Whatever your DAW is, I am sure the stock effects in there are actually pretty darn good! It is also better to get to know your stock reverbs really well before you add on to it. So take some time and see what reverbs are already included in your DAW!

    5. Not Automating Your Reverbs
    In my track, I’ve got the short reverbs going through the whole some, and they don’t change volume, but when we hit the chorus, where the song is much denser, the reverb and delay come up. Doing this is not going to make the whole track feel like it has been reverberated, but it help it to sound the same as it did on the verse!

    6. Having Too Many Types of Reverbs
    I like to use multiple reverbs at different level. I actually find that using three reverbs on a vocal is pretty normal. However, getting to carried away and using something really subtly different on 30 different instruments is a waste of time. As much as I love putting ambience on something, there are better ways of doing it!

    You want to have control of things, and the last thing you want is to have so many different plugins going that you hear a buildup of reverb, and you can’t figure out where it is coming from. Make your life simple, and make sure you employ effects for a reason!

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  • Sidechaining Bass Like Jaycen Joshua -


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    #30 Sidechaining Bass Like Jaycen Joshua

    I was watching an episode of Pensado's Place a few weeks ago and and saw Jaycen Joshua talking about sidechaining the lower frequencies of a bass track. So I decided to put a video together and explain how I think you can do that also.

    I must say that this is my interpretation of how Jaycen Joshua would split up and sidechain the bass frequencies but it does not mean that it is totally accurate to his approach. This is something that I believe is common with any technique us engineers learn -- we take what we think we are being taught and then put our own twist on it.

    Even though I feel like this technique can be really useful, my opinion is that it would have a time and a place to be used.

    For example this might not work that great on an EDM track because the goal with an EDM record is to make the entire bass pump.

    I think this is something that would be very useful for tracks that have a huge dependency on the low frequencies but aren't intended to have a sidechaining effects. This could be a lot of hip hop records or even R&B tracks where the low end is super important. But heck, you could really use this on any style of record.

    Also make sure you check out:

  • 5 Beginner Mixing Mistakes


    Whether you’ve added too many reverbs, overlooked phase relationships, or just have too much processing on a track, we all make mistakes. In this video, follow along as we cover 5 common beginner mixing mistakes and strategies to avoid them in your next session.

    Learn more mixing tips and tricks on iZotope Learn:
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  • Using Multiband Compression on the Master Fader


    Learn how to energize your mixes using subtle multiband compression on the master fader with the C4 Multiband Compressor. Learn more: The Recording Revolution:

  • How to do the Pultec Low End Trick - Mixing Tutorial


    The Pultec Low End Trick is a great way to add low end to your song or instrument without adding rumble, mud or anything else that sounds bad. Check out the video and try it out on your next mixing project.

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    #homemusicstudio #mixingmastering #audiomixingtraining

  • Tighten Up That Low End!


    In this quick tip tutorial you will learn a clever trick that you can use on your kick in order to tighten up your low end.

    The low end of a track is of often the most difficult part of a track to mix and get just right. This is the part of the mix with the most energy, so it's important that every element is sitting just right in relation to each other.

    This video will show you a few tricks that you can use to tighten up the low end in situations where it would otherwise tend to sound sloppy or loose. This typically happens when you have overlapping frequencies in the low end spectrum.


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  • Why Mixing Low End Can Be a Challenge


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  • Retain The Low End Punch Of Your Mix |


    Making sure you retain the fat and punchy low end of your mix is imperative... Don't over-compress and squeeze the life out of your kick and bass... Reach for the Sidechain on your favorite Compressors!

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    Please feel free to drop me an email with any questions at! :-)

  • The Pultec Trick: Tips for Low End EQ | LANDR Mix Tips #11


    Every serious engineer has a digital version of the classic Pultec EQP-1A program equalizer in their plugin folder.

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    The Pultec is known for its broad and musical boosts and cuts, but over time engineers learned to exploit a quirk in its circuitry for a special purpose.

    I’m talking about the famous “Pultec Trick,” for boosting low end. It’s a secret weapon technique to enhance basses and kick drums that’s used by a ton of pros.

    First off, I’ll bring up a Pultec so we can take a look at the controls. Today I’ll be using Ignite Amps PTEq-X, which is a great freeware Pultec-style EQ.

    The high band has 3 frequencies for attenuation and 8 for boosts, but the low band has only 4 available frequencies for both cuts and boosts.

    This quirk allows you to boost and cut at the same frequency setting, at the same time.

    Due to the design of the hardware, the boost and attenuate bands aren’t at exactly the same frequency, and they create a unique overlapping EQ curve that can work wonders on bass instruments.

    The kick drum track I’m working with just doesn’t have enough power in the low-end. I’ll see if I can give it some authority using the Pultec trick.

    I’ll go ahead and add a PTEq-X to my kick track. One of the great things about using Pultecs is that they impart a really nice tone even before you add any boosts or cuts.

    I can already hear a bit of that character coming through on the kick drum.

    I’ll start by setting the bandwidth to sharp and the frequency to 60 Hz. Now I’ll simply increase both the boost and attenuate knobs to get that special overlapping curve.

    I’ll back off just before noon on the dial when I start to hear the effect getting overpowering.

    Listening in the mix now, the fundamental frequency of the kick drum is much stronger, and I can feel the lows hit with a lot more oomph.

    So that’s the Pultec trick in a nutshell. It’s a simple, super effective way to bring out the lows in your kicks.

    Try it on other instruments as well. In some cases it can be great on bass or other low end sources.

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  • Mixing Low End with David Glenn


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    David Glenn walks you through his process for managing the low end in a Pop ballad.

  • The Bass Guitar Mixing Trick for a Massive Low End


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    Bass is one of the main areas I see a lot of people struggling with in home studios.

    Getting the low end right is fundamental to a professional sounding mix.

    In this video I show you a trick I picked up from a professional mix engineer.

    All you need is an EQ and Compressor plugin.

    If you want your Bass Guitars to sound big and punchy, while keeping that low end locked in place, then this videos for you!

  • EDM & Dance Kick Easy Mixing Trick: Make you chorus POP!


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    In this video David shows a nice trick to make your chorus pop,
    a technique to make your kick stereo yet still mono compatible, will work on big and small speakers, easy to do and great impact.
    Also how to enhance stereo percussion loops to go along with this trick
    Real stereo kick done right !

    Comment, Like and Subscribe!


    #stereo #kick #beatmaker #dj #djproducer #billyhellish #top10 #mixmaster #mixandmastering #mastering #homestudio #looper

  • Low End trick


    Follow this simple trick to clean up the low end of your mix.

  • Low End Masterclass - How to mix your low end


    Available from

    The low end of any mix, especially in EDM and Hip Hop, can be really difficult to get right.

    It’s also one of the more important elements of any mix. Echo Sound Works brings you a course that covers all things low end.

    From acoustical treatment to mixing tips and tricks. To efficiently tackle this difficult topic, we are going to break up the limited low end space into three distinct zones and discuss how each one is important to the collective low end in any mix.

    ZONE 1 - Power/Rumble 25-50 Hertz - This is the sub bass frequency zone. One of the hardest frequency spectrums to get right.

    ZONE 2 - Punch - 50-115 Hertz - This is the range that adds the “punch” to the low end. This is for basses and kicks.

    ZONE 3 - Smack - 120 - 500 Hertz - This is the high end of the low end equation. Things like basses, snares, guitars, synths etc. can all live in this range.

    PART 1 - Introduction - A look at the course and how it’s formatted.

    PART 2 - Acoustic Treatment - This video discusses the first step at getting a great low end mix, your room and listening environment.

    PART 3 - Understanding Low End - This video introduces the 3 Zones that we will be looking at throughout the tutorial course.

    PART 4 - Zone 1 - This video introduces the concepts and frequencies around Zone 1 of the low end.

    PART 5 - Zone 2 - Zone 2 is the Punch part of the low end. Adding a bit to this frequency range can help add punch.

    PART 6 - Zone 3 - The Smack zone is there to add the high end to the low end. This can be helpful on kicks, basses and other low range mid instruments.

    PART 7 - Low End Arrangement - A big component to getting a good low end mix is having a proper arrangement. If your baseline is too busy then it will ultimately conflict with the kick.

    PART 8 - Layering Low End Sounds - A big component to a getting a big low end part of the mix is layering sounds together. Whether that’s basses or kicks. However, you need to do it correctly and keep in mind the 3 zones when doing so.

    PART 9 - Mixing Tips and Tricks - This video looks at a host of mixing tips and tricks focused around the low end zones.

  • Mixing Trick #14 - The Hot And Loud Mix Trick


    Mixing Trick #14 of Bobby Owsinski's 101 Mixing Tricks coaching program is called The Hot And Loud Mix Trick.

    It shows how to get your mixes competitively loud, yet still under control without sounding too compressed.

    This trick is from Module 1, which features 16 tricks for EQ, balance, panning, and automation.

    To find out more about the various tricks and modules of the course, go to

    To get 4 free tricks from the course, go to

  • The CLA SSL Drum Mix Trick |


    The CLA SSL Drum Mix Trick | Mix Better Now

    Hey friends! Hope you're all having a great day. Today I have a video for you where I discuss The CLA SSL Drum Trick in depth! The legendary Chris Lord-Alge is a huge fan of SSL's and he's certainly not timid about using them. Check out what I've learned from Grammy Award winning mix engineer, Chris Lord-Alge, and his approach to mixing drums using SSL's.

    If you enjoyed this video and would like to see Chris Lord-Alge mix in much more depth, please be sure to head over and check out the CLA Audio Legends premium mix course from my friends at Slate Digital HERE:

    Please SUBSCRIBE, LIKE, and ENJOY!

    Don't forget to sign up for the Mix Better Now Newsletter to get your Swag Bag of Free Multi-Track Sessions, Free Mix Templates, Free Drum Samples, Free Reverb Impulse Responses, Free Plugins and more, here:

    Please feel free to drop me an email with any questions at! :-)

  • Mixing Kick & Bass | FAQ FRIDAY - Warren Huart: Produce Like A Pro


    This was a Big Week, it was all about Mixing Low End… more specifically mixing Kick & Bass.
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    We did 2 LIVE Q&A’s, mixing kick and bass in hiphop and showed you some low end mixing tricks from Ulrich Wild, Cameron Webb and myself!

    There were a ton of great questions, some of which I couldn’t get to during the live Q&A’s. Today’s video is a roundup of all of your questions about low end, kick drum and bass guitar.

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    Here are the videos, live Q&A’s and blog posts we released this week:
    • Mixing Kick & Bass in Hip Hop (Mixing Low End)

    • Kick and Bass Low End Mixing Tricks With Ulrich Wild, Cameron Webb & Warren Huart

    • How to EQ Bass Guitar: Simple Steps for a Better Low End

    • [LIVE] Mixing Low End – Ask Me Anything

    • [LIVE] Mixing Kick & Bass – Ask Me Anything

    If you want to take your low end mixing skills to the next level, here are all the courses that we’ve referenced this week:

    Mixing In The Box with Warren Huart

    Mixing and Producing Punk with Cameron Webb

    Mixing Metal with Ulrich Wild

    Mixing Hiphop (2 courses for the price of 1)

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    Produce Like A Pro is a website which features great tips to help the beginning recordist make incredible sounding home recordings on a budget.

  • Mixing Low End Like a Pro: The Kick and Bass Mixing Trick | FL Studio | Hindi Tutorial


    Mixing Low End Like a Pro: The Kick and Bass Mixing Trick | FL Studio | Hindi Tutorial

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  • Bass Guitar | Polarity & Phase Relationship With Kick Drum In A Mix


    Bass Guitar | Polarity & Phase Relationship With Kick Drum In A Mix

    Puremix Mentor Jaquire King demonstrates polarity and phase relationship with a kick drum in a mix. In our bass guitar video, Jacquire not only discusses the relationship between multiple bass elements to ensure they are working together but also the effect of polarity on the speaker pushing versus pulling.

    Taking care to ensure polarity between mix elements is pushing the cone of the speaker outwards instead of pulling it inwards can improve tone, definition and keep elements like drums and bass from competing with each other.

    Learn More Here:

    Which way to flip it? That's the question at hand in this excerpt from our full-length tutorial: Jacquire King Mixing James Bay

    The it in this case is the polarity of the bass on the song, “Let it Go.”

    #bassguitar #polarityandphaserelationship #basspolarity

  • Tips for Managing Low End in a Modern Rock Mix


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    A video on managing multiple low end elements in a modern rock mix.


    In today's video, we're going look at managing low end. I've talked about this before, and I've shown Waves Factory Track Spacer before. It's a plug-in you can get that stands on its own – it does its own thing.

    It's not side-chain compression, it's side-chain multi-band volume ducking. It's absolutely incredible. You'll see that in a second.

    But first, I want to introduce you to my new chorus, it's called mixing modern rock. I'm going to show you a before and after sample right now, and then we'll talk about low end.


    Okay, so I hope you dig that. If you want to see how I take those dry tracks and transform them to a finished master, I show the entire process., or the link is the description below. The multi-tracks are included, so you can mix that song and use it for your resume as well. I hope you check that out.

    Today, we're talking about low end. Now, in this particular song – this is a song from Mixing Modern Rock – I've got a kick. I love a lot of sub in my kick, so there's a couple of ways that I do that. We'll talk about that. I've got the bass, and I love a dirty, distorted, driving bass, but I also love a lot of low end, so I've got Low Ender generating some subs for the bass.

    We've got a sub-bass drop, like an 808 type thing. We've got a tuned bass drop that I've got also going to what I use – it's called the Gino-Hall. It's my sub-splash. What I do is I use an EQ – excuse the surgical spaghetti mess here, but what I do is I take all of the top end essentially out of a reverb, and I'll send elements to it, and then I'll widen it so that the reverb is only sub, and it kind of extends the sound of the bass, the toms – could be used on any number of things. I use it a lot on 808 drops, toms for certain ring out sections, and anywhere where I want to give a little bit more power to kind of fill some space, so...

    Sub-splash is going into the Lexicon 224. Maybe about 4 or 5. Let me actually show you the sub-drop and the sub-splash, since I'm talking about it. And then you can see the widening that I'm doing. A good 40% or so. Here is the sub-splash.

    [sub bass splash]

    And then here's – as Pro Tools glitches and my voice cracks at the same time – now here's without the sub-splash. You know what, let me name that sub-splash. Okay.

    [sub bass]

    Okay, and then back with the splash.


    Alright. Sweet. So, sub-splash. A little rabbit trail. I wanted to show that off, but back to the task at hand, we're talking about managing the low end from these multiple elements. So we've got, one more time, the kick with the sub, the toms that have a decent amount of 70-100, then we have the 808, the sub-splash, and the bass guitar. There's probably something else, but for now, those are the ones we're going to focus on.

    So what I've done is I've used Waves Factory Track Spacer, and I've put that on the bass, I've put it on the toms, and I've put it on my main kick track here, and what I'm doing is I'm sending the 808 and the sub-splash into it through a side-chain called “Sub SC” for Side-Chain. Sub SC.

    And we can see that. Let's pull it open on the bass. The first instance is actually coming from the kick. I'm sending the kick into the bass, and I'm pushing down 76Hz and below. Every time the kick hits, it's going to push the frequency range from 20Hz to 76Hz down on the bass so that the kick wins the low end battle.
    What I want to show you is duplicating Waves Factory Track Spacer and using the sub from the bass drop and the sub-splash, I'm sending into here, and I'm removing similar – the 76Hz and below in the bass guitar, pretty aggressively, and then I've slowed the release down a little bit on the bass so that the sub rings out, and the subs are going to kind of switch rolls a little bit.

    So initially what's going to happen is when the bass drop hits, the bass guitar sub frequencies – 76Hz and below – are going to drop, and then as the sub fades out, the bass is going to come back – the sub in the bass is going to come back.

    I've also got the kick up here, so you can see that same frequency range – 76Hz or so – at about a 70% ratio, and that – you know what, that could be the default setting, because kicks are quick, right?


  • Best Mixing Advice I Ever Recieved


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    Hey, y'all! I didn't realize Dirty Sine Rack & Magic Sine Distorter were not in the original rack pack. I just uploaded a new Add-On pack that contains those 2 plus 6 other Custom Ableton Racks I use here, Cheers:

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    Thanks for your support my alien friends! - AHEE

  • Creative Mix tricks for Electric Guitars for Pop: Mono to Stereo Effects for Wider and Clearer Mix


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    In this in depth video David shows us a collection of mixing techniques for real electric guitars for a pop song. Multiple recordings of clean and distorted guitars, both mono and stereo, using panning, level automation, compression, dynamic eq, saturation and modulation effects, he places different guitars at different distance from the listener, giving the mix a 3D effect. Stereoizing and enhancing depth to make all the guitars fit this modern pop song.
    A look at the routing, submixes and effect sends we can see both single tracks and group processing, how to control single notes dynamically and tame peaks while retain transients and sustain.
    Stay tuned for the next videos.

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