Tipz 1.0 - White

Music Production Biz
TIPZ 1.0
A collection of music production tips and tricks
INTRO
First of all, I would like to thank you for purchasing my products. It keeps me motivated
to deliver the highest quality content possible.
Second, keep in mind that if you don't help yourself, none can. Becoming a great music
producer takes commitment, hard work, and dedication. Therefore, reading this ebook
without putting it into practice won't get you anywhere. You will probably forget
everything the next day. I highly recommend reading and practicing one trick at a time
before moving to the next one.
If you have any difficulty understanding a specific topic, please don't hesitate to reach
out and contact me:
through Instagram DMs: musicproductionbiz
or via email: education@musicproductionbiz.com
I will ensure that I respond to every DM or email (provide your purchase order number
and a screenshot of the trick in question). But please be specific with your question
and don't send demos since I will provide a specific section for demos and live
feedbacks for existing customers.
musicproductionbiz.com
BEFORE YOU START, KNOW THAT ...
PLUGINS USED IN THIS EBOOK

For the infographics, I use random plugins screenshots, but you can achieve any trick
using the EQ, compressor, distortion plugins you already own. You can do a fantastic
job using your DAW stock plugins.
AN EBOOK FOR BEGINNERS & ADVANCED

In music, the same effect can be achieved in multiple ways. My goal is to help both
beginners and advanced producers understand what I am talking about. So, if you can
recreate the same trick more efficiently, then do it (ex. return track instead of
duplicate).
USE WHAT YOU NEED

Remember, every mix is different, and every sound is distinct. Every processing is
context-dependent. I am trying to give you as many tools as possible to fix your mixes.
But, it doesn't mean that you will need to use all these tips and tricks on every mix. Only
use the ones that can help you fix what you are working on.
THESE ARE ONLY GUIDELINES

In addition, not every kick or vocal sound the same, so take each tip or trick with a
pinch of salt. For example, if I tell you boosting the vocals around 12 kHz will add air, it
might be 10 kHz in your case, or your vocals could be already bright, so be open to
tweaking the trick to your liking. Again, these are not absolute rules but guidelines.
RECOMMENDED FREE PLUGINS
A LIST OF FREE & USEFUL PLUGINS
VINYL IMAGER 2
LO-FI PROCESSOR STEREO TOOL
IZOTOPE IZOTOPE
SPAN SATURATION KNOB

SPECTRUM ANALYZER SATURATION
VOXENGO SOFTUBE
BITTER SWEET PANCAKE

TRANSIENT SHAPER AUTO PAN
FLUX CABLEGUYS
TABLE OF CONTENT
1/3
PRODUCER GUIDE PRODUCTION TIPS & TRICKS
LEARNING STEPS ARRANGEMENT FILTERS
PRODUCTION PROS & CONS CHORDS LENGTH
WHERE TO START? ... THE DAW CONTRAST BETWEEN SECTIONS
MUSIC THEORY ESSENTIALS FILL THE TRACK
BASIC MIXING PIANO ATTACK
BASIC MASTERING CHAIN MELODY ACCENT
CONSISTENCY PITCH BENDS
PRODUCER MISTAKES - PART 1 SYNTH MOVEMENT
FINISH MUSIC FASTER - PART 1 SYNTH NOISE
TAPE STOP
MUSIC THEORY TREMOLO VS VIBRATO
CHORD INVERSION VOLUME RHYTHMIC LFO
CHORD PROGRESSIONS VIBES 1
CHORD VOICING BASS TIPS & TRICKS
CIRCLE OF FIFTHS BASS GLIDES
MAJOR SCALE BASS LAYERING
NATURAL MINOR SCALE BEST SUB BASS
POPULAR MAJOR PROGRESSIONS 1 MELODIC BASS
SUB RANGE
TABLE OF CONTENT
2/ 3
VOCALS TIPS & TRICKS MIXING CONCEPTS
PITCH VS FORMANT AUDIO ENGINEERS VOCAB 1
PANNING BACKGROUND VOCALS AUDIO ENGINEERS VOCAB 2
VOCALS CONSISTENCY COMPRESSION 101
VOCALS EQ - PART 1 COMPRESSOR PARAMETERS
VOCALS EQ - PART 2 COMPRESSOR VS LIMITER
VOCALS DE ESSER DB
VOCALS EQ CHEATSHEET DELAY PARAMETERS
VOCALS TOP AIR DEPTH 101
DISTORTION 101
DRUMS TIPS & TRICKS EQ FILTERS
808 & TOP KICK HEADPHONES VS SPEAKERS 1
CLEAN CYMBALS MONO COMPATIBILITY CHECKLIST
HUGE TOMS REASONS TO USE EQ
KICK CUTS THROUGH RECORDING SIGNAL FLOW
KICK EQ CHEATSHEET REVERB PARAMETERS
KICK LAYERING STEREO IMAGE OF SOUNDS
REVERSED CLAP GROOVE
SNARE MIX
SNARE NOISE LAYER
SNARE SIDECHAIN
UNIQUE DRUM FILLS
TABLE OF CONTENT
3/3
MIXING TIPS & TRICKS MASTERING TIPS & TRICKS
ABBEY ROAD REVERB ANALYZERS
BIGGER NOT LOUDER LOUDER MASTER
CLEAN MIX WITHOUT PROCESSING MASTERING FACTS
EQ VS COMPRESSOR SPEAKERS LEVELS
EQ CUTOFF RESONANCE TEST THE FINAL MASTER
GROUP BUSSES
MIXING STEPS GUIDE
SIMPLE DEPTH TRICKS
SIMPLE WIDTH TRICKS
SYNC ECHO
PRODUCER GUIDE
Simple guidelines to help you grow, be more productive, avoid common producer
mistakes, and put you in the right direction.
LEARNING STEPS
NOOB TO PRO
If you're starting out or still didn't find the right direction, here are the steps I
recommend if you want to become a professional music producer. On paper, it's
simple, but the process takes time, hard work, and dedication, so be patient.
NOOB
DAW & Step by Step Start to Finish Tutorials
Music Theory Essentials
Basic Mixing
Basic Mastering
Basic Sound Design
Dive Deeper Into Mixing
Dive Deeper Into Sound Design
Dive Deeper Into Mastering
Pro
PRODUCTION PROS & CONS
YOU WILL BECOME BETTER, BUT IT TAKES TIME
Music production is not complicated but complex. You have to learn many topics to be
capable of producing professional-sounding tracks. You have to give your brain
enough time to process all this knowledge, practice, and never give up.
CON
The downside of music production is that it takes time to become
good at it. It's not an overnight process.
PRO
But guess what, the more time you put into it, the better you will get.
Being able to produce a clean, professional track is 100%
guaranteed.
WHERE TO START? THE DAW
KNOW YOUR WAY AROUND IT
First, you will need a DAW (Digital Audio Workstation). There are lots of great ones out
there. I would highly recommend Ableton. But FL Studio, Pro Tools, Logic Pro, Cubase,
StudioOne are all great. In fact, you can achieve almost the same result using any of
them. All you have to do is learn how to use the software.
HOW TO LEARN IT? START WITH THE BASICS

First, you will have to watch tutorials covering the DAW basics and get familiar with the
user interface.
You need to find answers to these questions: how to create midi, audio, and return
tracks? How to load plugins on these tracks? How to program midi, drum patterns, and
manipulate audio files? How to automate? And finally, how to export the song?
START TO FINISH TUTORIALS

Once you learn the basics, it's time to practice this knowledge. Nowadays, you can
easily find high-quality start to finish tutorials on YouTube. Find a YouTuber that uses
the same DAW and produces a genre you like, and follow his tutorials step by step.
Once done, go and recreate something similar on your own. Of course, you're not
going to produce a hit, and you're not supposed to do it at this stage, but this is
essential to learn and evolve.
MUSIC THEORY ESSENTIALS
WHAT DO YOU NEED TO KNOW?
Music theory is the first thing you have to learn when producing. Not creating great-
sounding melodies on top of a chord progression can be frustrating. But remember,
you don't have to dive deep into it to make music. All you have to do is start with the
basics. And then, you can learn more stuff over time.
In this post, I will show you the topics you need to know to start. And soon, I will be
releasing a complete music theory guide.
NOTES Learn the name of each note on the keyboard
STEPS Half step and whole step (important to understand scales)
INTERVALS The distance between two notes
SCALES & KEYS Notes used to make a song (start with major, minor)
CHORDS Learn how a chord is built, its definition
CHORDS TYPES Simple triads, inversions, voicing chords ...
PROGRESSIONS Learn chords functions in a scale, voice leading ...
BASIC MIXING
WHERE TO START?
MIXING BEFORE SOUND DESIGN

I highly recommend starting by learning basic mixing before sound design. First of all,
most sound design decisions are mixing decisions. The width of the sound, the
frequency content, the envelope: all of these decisions have to consider the mix
context. So if you don't have a mixing background, your sound design won't be that
good.
In addition, you can still do a fantastic job using synth presets, but that's not the case
when it comes to mixing and mixing tools presets.
MIXING BEFORE MASTERING

All the mastering tools are mainly mixing tools (compressor, EQ, saturation ...). So if you
know how to mix, mastering will be about experimenting until you reach the desired
results.
In addition, mastering cannot fix a bad mix, whereas a good mix needs a limiter to
sound almost mastered for most listeners (mastering engineers will hate me for this).
WHERE TO START?
I highly recommend starting by learning how to set the correct levels (using reference
tracks) and panning. Then how to use an EQ. You can achieve a clean mix by only
using these three tools.
Meanwhile, use one-knob compression plugins and simple reverb and delay tools.
Don't use complex plugins with many knobs. Remember, less processing options
means fewer mistakes.
BASIC MASTERING CHAIN
ACHIEVE 90% USING THIS SIMPLE CHAIN
D o n ' t o v e r t h i n k m a s t e r i n g . A g o o d m ix m a in ly n ee d s this s im p le
m a s t e r i n g c h a i n . T h i s t h r e e - e f f e c t s c h a in w ill b e e n o u g h to a c hie v e 9 0 %
of the mastering process.
A - COMPRESSION
Glue everything together and increase the RMS level for a higher
perceived loudness.
B - EQ
Control the energy of each frequency band to shape the overall
tone of the track.
C - LIMITER
Reach the target loudness to compete with other tracks. Make sure
not to distort or destroy the original mix dynamics.
Once done with this chain, you can experiment with other effects and their placement
in the chain.
CONSISTENCY
BE PATIENT & STAY CONSISTENT
LUCK
INTENSITY
CONSISTENCY
BE PATIENT & STAY CONSISTENT

Nothing special happens overnight. To become better at music production, you will
have to be consistent. Providing one hour/day is a great starting point.
PRODUCER MISTAKES - PART 1
THE BEGINNERS MISTAKES
Please avoid these mistakes that we are all guilty of:
NOT STARTING TODAY

Stop wasting your precious time; the clock is ticking. If you don't start today, if you don't
start now, tomorrow you probably won't.
EXPECTING FAST RESULTS

As discussed earlier, it takes time. You have to be patient and be in love with the
process. You get better with time, believe in yourself, and never give up.
WORRYING ABOUT EQUIPMENT

Start with what you already have. If you're reading this, you probably have a computer
and internet connection, and that's enough to start and grow.
COMPARING YOUR MUSIC TO THE PROS

When listening to your favorite artist's music, use it as a reference and learn from it.
Always compare your tracks today to your older ones. Comparing them to the pros
can easily frustrate you.
Long story short, start today with the equipment you already have, invest time learning,
and start investing money on gear once you're consistent.
FINISH MUSIC FASTER - PART 1
BE MORE PRODUCTIVE
Here's a list of tips that will help you finish more music, be more productive, and make
you grow as a producer.
DO SOMETHING
Most producers sit on a couch waiting for inspiration and motivation to take action.
Well, don't be that producer. Instead, open a new session, create a crappy beat, keep
tweaking, and suddenly you will realize that you became more motivated and inspired.
It's the action that will mainly motivate you, not the other way around.
CHALLENGE YOURSELF
Set goals, how many projects you will finish today. Make it a game!
DONE IS BETTER THAN PERFECT

As you're starting, keep in mind that finishing projects is the key to becoming a better
producer. So, finish first and critique later. Then, use this critique in your next project.
AVOID DISTRACTION
Nowadays, you will realize that your brain always seeks distraction. It's easier for your
brain to process a ruthless social media post than making a melody or fixing what is
wrong in a mix. Therefore, try to limit distraction (social media, gaming, Netflix ...).
Focus on your music!
REWARD
After achieving your daily goals, try to give something back to your body and brain as
a reward. This could be Netflix, playing video games, hanging out with friends ...
MUSIC THEORY
Practical and straightforward music theory-related topics that help you compose
music with ease.
CHORD INVERSION
SMOOTH OUT YOUR CHORD PROGRESSIONS
ROOT INV 1 INV 2 ROOT
OVERVIEW
Smooth out your chord progressions using chord inversions. You will keep the same
notes but change their vertical order by transposing the bottom note of each position
an octave higher.
The chord keeps the same name (ex. Cmaj), but the sound and feel will slightly
change.
Inversions help piano players keep their left hand in a steady position while playing.
EXAMPLE
I n t h i s e x a m p l e , y o u s e e t h e 2 in v e r s io n s f o r t h e C m a jo r c ho rd :
Root position C - E - G
Inversion 1 E - G - C
Inversion 2 G - C - E
CHORD PROGRESSIONS VIBES 1
CHEAT SHEET - PART 1
These are some popular chord progression vibes. Note that:
A - You can try them and find if they work in your genre.
B - Use them as starting points and tweak them to your liking.
C - Add other chords in between.
D - Change their key by transposing them.,
HAPPY C - G - Am - F
JOYFUL C-F-G-C
DARK F - C - Am - Em
POP F - Am - C - G
EMOTIONAL F - C - Am - G
SAD Dm - Am - F - G
CHORD VOICING
THE NOTES VERTICAL ORDER
Two chords might have the same name and made out
o f t h e s a m e n o t e s y e t s t i l l h a v e a d is t in c t s o u n d a n d
f e e l d u e t o t h e d i f f e r e n c e in t h e v e r t ic a l o r d e r o f t h eir
notes.
For instance, all the chords in this piano roll are the C major chord,
but they still sound slightly different because they have different
voicing. They all have the notes C, E, and G, but they are spread
differently. Some chord notes are closer, and thus the chord
sounds denser, and others are distant, and thus the chord sounds
more open.
Experiment with the voicing of your chords to get the vibes and feel you're looking for.
CIRCLE OF FIFTHS
HOW TO USE IT?
L e t ’ s s a y y o u w r i t e a s o n g in C m a jo r . Y o u
c a n u s e t h e C i r c l e O f F i f t h s t o lo c a t e a ll t h e
n o t e s a n d c h o r d s i n t h a t s c a le .
NOTES IN THE SCALE

I n t h i s c a s e , a l l t h e h i g h l i g h t e d n o t e s a r e w it h in C m a jo r,
t h e o n e s o n i t s l e f t a n d r ig h t ( F , G ) , t h e t h r ee
u n d e r n e a t h t h e m ( d , a , e ) , a n d f in a lly t h e s e v e n t h,
which is in the bottom right (b).
CHORDS IN THE SCALE

Y o u c a n a l s o k n o w t h e q u a lit y o f e a c h c h o r d o f t h a t
s c a l e : a c a p i t a l l e t t e r i s m a jo r ( G m a j) , lo w e r c a s e is
m i n o r ( a m i n ) . T h e s e v e n t h ( b ) is d im in is h e d .
This notes organization is valid for all the keys within that circle.
MAJOR SCALE
W|W|H|W|W|W|H
C C# / Db D
D# / Eb E F
F# / Gb G G# / Ab
A A# / Bb B
H = half step
W = whole step
# = sharp
b = flat
NATURAL MINOR SCALE
W|H|W|W|H|W|W
C C# / Db D
D# / Eb E F
F# / Gb G G# / Ab
A A# / Bb B
H = half step
W = whole step
# = sharp
b = flat
POPULAR MAJOR PROGRESSIONS 1
PART 1
These are some popular major chord progressions. Note that:
A - You can try them and find if they work in your genre.
B - Experiment & combine two progressions in one 4 or 8 bars pattern.
C - Tweak them to your liking and add other chords.
D - UPPER CASES are MAJOR CHORDS
E - Lower cases are minor chords.
PROGRESSION 1 IV - I - V - vi
PROGRESSION 2 vi - IV - I - V
PROGRESSION 3 I - V - vi - IV
PROGRESSION 4 vi - IV - I - V
PROGRESSION 5 IV - I - V - vi
PROGRESSION 6 ii - V - l
PROGRESSION 7 I - IV - V
PRODUCTION TIPS & TRICKS
Practical and straightforward music production tips and tricks to help you step up your
productions by adding simple details to your music and sound more like the pros.
ARRANGEMENT FILTERS
SMOOTH TRANSITIONS
FILTERS
O p e n i n g a n d c l o s i n g L P a n d H P f ilt e r s a r e e s s e n t ia l to
building the flow in your track.
Y o u c a n f a d e s o u n d s i n a n d o u t a n d t r a n s it io n s m o o t h ly
f r o m o n e s e c t i o n t o a n o t h e r b y s im p ly u s in g t h o s e t w o
filters.
You can add them on single tracks, busses, or even the

m a s t e r c h a n n e l u s i n g a u t o m a t io n s .
RESONANCE
Add resonance at the cutoff frequency for better
results. You can also automate the resonance for
unique filter transitions.
CHORDS LENGTH
CLEAR & CLEAN ARRANGEMENT
W h e n p r o g r a m m i n g c h o r d s , a d ju s t t h e ir le n g t h t o le a v e ro o m f o r o the r
e l e m e n t s . C r e a t e r e s t s a n d f ill t h e s ile n c e w it h a n o t h e r s o und .
LEAVE ROOM FOR THE SNARE

For instance, when using saw chords, try to stop them
o n t h e t h i r d b e a t o f e a c h b a r , le a v in g s p a c e f o r t h e
snare to cut through (ex. Future Bass).
ADD MORE DETAILS

I n a d d i t i o n , r e s t s a l l o w y o u t o a d d m o r e d e t a ils t o y o ur
track, such as fills and reversed FX.
Y o u w i l l b e a b l e t o a d d m o r e e n e r g y , m o r e e le m e n ts ,
a n d e a r c a n d i e s w i t h o u t m e s s in g u p t h e m ix .
If you have many stuff going on simultaneously, you will have a chaotic track and a
confused listener.
CONTRAST BETWEEN SECTIONS
KEEP THE TRACK MOVING
T h e s e a r e s o m e a r r a n g e m e n t tr ic k s y o u c a n u s e to c r e a t e c o n t r a st
b e t w e e n 2 j u x t a p o s e d s e c t io n s .
SECTION A SECTION B
ELEMENTS
Few Many
WIDTH
Narrow Wide
FREQUENCY CONTENT
Thin Full
RHYTHM
Mellow Rhythmic
F o r i n s t a n c e , y o u c a n g o f r o m a n a r r o w s e c tio n in to a w id e se c t io n ,
f r o m a s e c t i o n w i t h f e w in s tr u m e n ts in to a s e c tio n w it h t o o m a n y
i n s t r u m e n t s . T h i s k i n d o f c h a n g e in th e s o n g c a n b u ild t h e f lo w a n d
k e e p t h e t r a c k m o v i n g . C o n tr a s t is a g r e a t s to r y te llin g t o o l f o r y o u r
arrangement.
FILL THE TRACK
CHORDS BED
Create a background layer using all these different sounds and FX to set the mood of
your track. They will act as a bed for the chords to sit on top.
NON-TONAL AMBIANCE
These sounds can be quiet noise, ticking clocks, real scene
ambiances such as fire and rain ...
TONAL AMBIANCE
These sounds can be a vocal vowel looping repeatedly, a one-note
sustaining sound (ex. Reese bass).
Make sure each layer occupies a different frequency range, and the tonal layers are in
key.
PIANO ATTACK
ADD SHARPNESS TO RHYTHMIC PIANOS
T h i s t r i c k h e l p s y o u a d d s h a r p a t t a c k a n d d e f in it io n to y o ur rhy thm ic
piano pattern.
A - DUPLICATE
Duplicate the original piano midi pattern and make
the midi notes shorter.
B - ATTACK
Add a transient shaper on the new duplicate to make the attack
sharper.
C - MIX
Mix the new piano pattern with the original one by setting their
volumes to taste.
You can simplify this trick by using the transient designer right away without the
duplicate, but you won't have complete control over the shape of the attack.
MELODY ACCENT
ADD EXCITEMENT & INTEREST
ACCENT NOTES
WHOLE MELODY
M a k e y o u r t r a c k m o r e d y n a m ic a n d e n e r g e t ic b y a d d ing a c c e nts o n
some important notes.
A l l y o u n e e d t o d o i s t a k e t h e n o t e s t h a t c o u ld e m o t i o na lly im p a c t the
l i s t e n e r a n d p l a y t h e m w i t h a n e w in s t r u m e n t o n t o p o f the w ho le m a in
melody.
PITCH BENDS
INTEREST & EXCITEMENT
LEAD
CHORDS
BASS
U s e p i t c h b e n d s o n y o u r s o u n d s t o a d d m o v e m e n t a nd m a k e the m
sound more interesting.
SYNTH MOVEMENT
AVOID BORING STATIC SOUNDS
These are four tricks to add movement to your static synth sounds. Playing long static
notes makes your music dull and less exciting.
TREMOLO
It's a volume modulation. The volume moves up and down as the
note plays (ex. trance gate ...).
VIBRATO
It's a pitch modulation. The pitch moves up and down as the note
plays.
PORTAMENTO / GLIDE
It helps you get a pitch glide effect when you move from one note
to another.
KEYTRACK
It's a filter cutoff modulation. The filter cutoff changes depending on
the position of the note played on the keyboard.
SYNTH NOISE
ADD VINTAGE AIR TO YOUR SYNTH
NOISE LAYER
SYNTH
M o s t d i g i t a l s y n t h e s i z e r s h a v e u n p le a s a n t p h a s in g t o p e nd .
O n e w a y t o a v o i d t h i s i s b y c u t t in g t h e t o p - e n d f r e q ue nc ie s f ro m y o ur
s y n t h , r e p l a c i n g t h e m w it h w h it e n o is e , a n d t h e n E Q e a c h la y e r
a c c o r d i n g l y . T h e w h i t e n o i s e la y e r m u s t f o llo w t h e m a in le a d rhy thm a nd
notes length.
T h i s c o u l d w o r k o n a n y s y n t h s o u n d ( c h o r d s , le a d s , b a s s ) .
Y o u c a n a l s o a p p l y t h e s a m e t r ic k u s in g t h e n o is e o s c illa to r ins id e y o ur
synth.
TAPE STOP EFFECT
THE SIMPLE WAY
The tape stop effect can be achieved in multiple ways, and they all sound pretty much
the same. You can use one knob plugins or tempo automations in your DAW ... But
today, you will see how you can do it using three simple automations:
A - PITCH
Automate the pitch down. The amount depends on how you want
the effect to sound.
B - VOLUME
Automate the volume down by a few DBs. Don't automate it all the
way down.
C - FILTER
Make the effect more authentic by using a LP filter to remove high
frequencies.
TREMOLO VS VIBRATO
WHAT'S THE DIFFERENCE?
TREMOLO
Tremolo is a volume modulation. The volume bounces up and
down while a note is playing.
VIBRATO
Vibrato is a pitch modulation. The pitch bounces up and down in
cents while a note is playing.
They both add interest and movement instead of having dull static sounds. The shape
and amount of the LFO depend on how you want the effect to sound.
VOLUME RHYTHMIC LFO
COMPLEX RHYTHMS IN NO TIME
OVERVIEW
E x p e r i m e n t w i t h v o l u m e L F O o n y o u r lo o p s t o g e t c o m p le x rhy thm s in no
time.
L o a d t r a n c e g a t e p r e s e t s a n d t w e a k t h e m t o g e t s o m e thing tha t w o rk s
in your track.
WHERE TO USE IT?

Y o u c a n u s e t h i s o n y o u r d r u m lo o p s , c h o r d s , o r o the r s o und s to
generate unique rhythms.
BASS TIPS & TRICKS
Practical and straightforward bass mixing and production tips and tricks to master one
of the most essential elements in dance music.
BASS GLIDES
ADD INTEREST TO YOUR BASS PATTERNS
P r o v i d e m o r e l i f e t o y o u r b a s s s o u n d s b y a d d in g p itc h b e nd s w hile
moving between notes.
Simple but very effective.
Y o u c a n a c h i e v e t h e s a m e e f f e c t u s in g t h e p o r t a m e n t o o r the g lid e o n
your synth.
T h i s a l s o e m u l a t e s t h e w a y a b a s s g u it a r p la y e r d o e s w hile m o v ing his

fingers.
BASS LAYERING
GIVE EACH LAYER ITS OWN SPACE
W h e n l a y e r i n g b a s s l i n e s , m a k e s u r e e a c h la y e r f ills a s p e c if ic a re a in
t h e f r e q u e n c y s p e c t r u m : l o w , m id , h ig h .
O n l y o n e l a y e r c a n p r o v i d e t h e s u b f r e q u e n c ie s . O t h e r w is e , y o u m e s s up
t h e m i x ( H P f i l t e r t h e t o p & m id la y e r s ) .
Y o u d o n ' t n e c e s s a r i l y n e e d m u lt ip le la y e r s , b u t in c a s e y o u d o , this is a n
easy way to mix them.
LAYER 03 - HIGH
T h i s l a y e r w i l l p r o v i d e t h e t o p a ir y o u r b a s s
n e e d s t o c u t t h r o u g h t h e m ix a n d b e a u d ib le
on small sound systems.
LAYER 02 - MID
The mid-layer will provide the punch your bass needs
to hit harder.
LAYER 01 - LOW
This is the main layer, the one that provides the sub
size and vibration.
BEST SUB BASS
KEEP IT SIMPLE
T h i s s u b - b a s s w o r k s a l l t h e t im e . It 's e a s y a n d s im p le t o d e s ig n a nd m ix :
A - OSCILLATOR
Use a simple sine-wave with the right ADSR envelope. The right
ADSR envelope is the one that fits your track, which means the
chords and leads on top of it.
B - SATURATION
Add subtle saturation to make the sub fuller. And since it's a pure
sine wave, adding upper harmonics will make it slightly more
audible and warmer in the mid-range.
C - EQ
You can use an EQ after the saturation to control the harmonics
added. For instance, cut everything over 500 Hz. But it's optional, so
experiment with it.
Now, you can add any top layer you want (saw, bass guitar ...), but make sure to cut
the sub frequencies from it (everything under 80 Hz). Let the sub provide the
frequency information below 80 Hz.
MELODIC BASS
INTERESTING PATTERNS
OVERVIEW
Make your bass more interesting by adding some melodic notes
and rolls in between.
TIP
Make sure these additional notes don’t clash with the notes of the chords on top.
SUB RANGE
THE SUB MAIN FUNDAMENTAL FREQUENCIES
FREQUENCY RANGE
The sub main fundamental notes that will work in your track are between D# (38 Hz)
and D (74 Hz). Any note below 38 Hz won't be heard and needs a huge sound system
to be felt. Any note above 74 Hz won't provide the sub power required for your track low
end.
The sweet spot is between D# and F#. If most of your sub notes are outside this range,
compensate by using a long subby kick that has the fundamental key inside this range
[D#; F#].
P.S
The EQ used in the infographics shows you the sub-range visually, and it's not an EQ
that you have to use on the sub. You will still need frequencies outside this range but
acting as harmonics and not fundamentals.
VOCALS TIPS & TRICKS
Practical and straightforward vocal production and mixing tips and tricks to master
one of the most essential, delicate, and detailed element in music.
PITCH VS FORMANT
WHAT'S THE DIFFERENCE?
PITCH SHIFTING
Pitch Shifting is the traditional way to lower or raise the pitch of a
sound.
FORMANT SHIFTING
Formant Shifting is altering the timbre of the sound without
affecting its pitch or timing. It helps you change the perception of
how a vocal has been performed.
Y o u c a n u s e f o r m a n t s h i f t in g t o a d d v a r ia t io n t o y o ur v o c a l lo o p s b y
going from a higher into a deeper vocal sound.
Y o u c a n a l s o u s e i t o n b a c k g r o u n d v o c a ls a n d h a r m o nie s to g e t a
d i f f e r e n t t i m b r e f r o m t h e l e a d v o c a l if y o u 'r e w o r k in g w ith o nly o ne v o c a l
take.
PANNING BACKGROUND VOCALS
LOW & HIGH TAKES
HIGH BV L HIGH BV R
LEAD
LOW BV L LOW BV R
M o s t o f t h e t i m e , b a c k g r o u n d v o c a ls a r e s p r e a d a c r o s s the s te re o f ie ld
to embrace the lead vocals.
H e r e ' s a p a n n i n g t i p t o m a k e s u r e t h e y d o n 't m a s k t h e l e a d :
L o w b a c k g r o u n d v o c a l s a d d b o d y t o t h e le a d . T h u s w e c a n p a n the m
s l i g h t l y t o t h e l e f t a n d r i g h t . S o t h e r e w o n 't b e a n y m a s k ing is s ue s .
H i g h t a k e s h a v e m o r e h i g h - f r e q u e n c y c o n t e n t a n d m a y m a s k the le a d .
T h e r e f o r e , i t ' s b e t t e r t o p a n t h e m w id e r a w a y f r o m t h e c e nte r.
P l e a s e n o t e t h a t i f t h e l e a d v o c a l is a lr e a d y lo w a nd d a rk , d o the
opposite.
VOCALS CONSISTENCY
VOLUME AUTOMATION BEFORE COMPRESSION
VOLUME AUTOMATION
B e f o r e p r o c e s s i n g y o u r v o c a ls , s t a r t b y a u t o m a t in g t h e
v o l u m e t o e v e n o u t t h e p e r f o r m a n c e a n d m a k e it m o r e
c o n s i s t e n t . F o r e x a m p l e , t u r n d o w n t h e lo u d p e a k s , t u rn
u p t h e q u i e t p a r t s , a n d m a k e t h e c h o r u s lo u d e r t h a n t h e
verse.
STEADY FADER
This helps you find a steady fader, making it easier to mix. There will
be no need to adjust it between sections. It also allows you to use
the same compression on both the verse and the chorus.
Otherwise, you will have to apply more compression on the verse part, ending with
even more compression on the chorus, making the vcoals sound squashed and
choked.
VOCALS EQ - PART 1
CORRECTIVE EQ
Instead of using one EQ, split the process. First, get rid of unwanted frequencies that
might be masking the pleasant ones. Second, enhance by boosting the pleasant
tones. Here's how you can start by cleaning the vocals.
HP
Start by getting rid o f t h e u n w a n t e d s u b r u m b le u s in g a
HP filter. You won't b e a b l e t o h e a r t h e s e f r e q u e n c ie s
anyway. Then, keep t u r n i n g t h e H P u p t o t h e p o in t w h e r e
you start losing the vocal body.
LOW-MIDS
M a n y f r e q u e n c i e s b u i l d u p in t h is a r e a , le a d in g t o a
m u d d y v o c a l t a k e . I t ' s m a in ly a f f e c t e d b y t h e m ic
r e c o r d i n g a n d t h e r o o m t r e a t m e n t s . Y o u h a v e to
c o m p r o m i s e b e t w e e n t h e b o d y it p r o v id e s a n d t he
muddiness you get.
RESONANCE
R e s o n a n c e i s a n i r r i t a t i n g f r e q u e n c y t h a t ju m p s t oo
m u c h i n t h e m i x . F i n d t h e o n e s t h a t ir r it a t e y o u t h e m o s t
a n d c u t t h e m u s i n g a n a r r o w Q . D o n 't o v e r d o it . J u s t c ut
t h e o n e s t h a t a r e r u i n i n g t h e v o c a ls .
VOCALS EQ - PART 2
ADDITIVE EQ
In this second part, we will try to enhance the vocals and boost what we believe the
vocals are lacking.
MID BOOST
L i s t e n e r s ' e a r s a r e v e r y s e n s it iv e t o t h e m id - f r e q u e n c y
r a n g e . T h i s i s t h e r a n g e t h a t h e lp s t h e v o c a ls c u t
t h r o u g h t h e s p e a k e r s . S o f in d t h e s w e e t s p o t b e t w e e n
1 . 5 k H z a n d 4 k H z a n d b o o s t it t o p la c e t h e v o c a ls on
top.
HIGH SHELF
T h e l a s t t h i n g l e f t i s t o l e t t h e v o c a ls s h in e u s in g a h ig h
s h e l f t h a t a d d s a i r o n t o p . M a k e s u r e n o t t o o v e r d o it t o
a v o i d h a r s h a n d i r r i t a t i n g v o c a ls .
VOCALS DE-ESSER
HOW IT WORKS?
D e - E s s e r i s a t o o l t h a t h e l p s y o u g e t r id o f ir r it a t in g s ib ila nts tha t a re

jumping too much in the mix (ss, tt).
Yo u h a v e t o p i c k t h e f r e q u e n c y r a n g e w h e r e t h e y r e s id e in the v o c a ls
a n d t e l l t h e D e - E s s e r h o w m u c h g a in r e d u c t io n y o u w a nt to a p p ly . T his
can vary from one vocal take to another.
VOCALS EQ CHEAT SHEET 1
PART 1 - PROBLEMATIC AREAS
100 Hz 800 Hz 1.5 kHz
Unwanted Nazal Harsh

Muddiness
Rumble Honk Sibilant
If you ever tackle one of these problems, you can find it in its respective
frequency band.
VOCALS TOP AIR
USING A TOP THIN LAYER
This trick is about creating an over-processed high and thin vocal layer and mixing it
with the original one.
A - PARALLEL PROCESSING
Duplicate the original vocals (or use parallel return tracks).
B - COMPRESSION
Over-compress the duplicate.
C - EQ
Cut it under 700 Hz and boost around 12 kHz.
D - DE ESSER
Use a de-esser if needed.
E - MIX
Mix the new layer with the original one to taste. It doesn't have to be
loud.
DRUMS TIPS & TRICKS
Practical and straightforward drums production and mixing tips and tricks to grasp the
core of the groove in your tracks.
808 & TOP KICK
GET A HARD HITTING 808
TOP KICK
808 TAIL WITH FADE
T h e s t a r t o f t h e 8 0 8 c a n e a s ily c la s h w it h t h e t o p k ic k p unc h, e nd ing up

w i t h p h a s e i s s u e s , d e s t r o y i n g y o u r h e a d r o o m , a n d d is t o rting y o ur tra c k .
A s t r a i g h t f o r w a r d w a y t o a v o id t h is a n d m a k e t h e m f it to g e the r is to
apply a volume fade-in at the start of the 808.
N o w , b o t h c o m p l e m e n t e a c h o t h e r . T h e 8 0 8 f a d e s in a s the to p k ic k
fades out.
Y o u c a n u s e a s i d e c h a i n t o a c h ie v e t h e s a m e e f f ec t, b ut w ith this
t e c h n i q u e , y o u w i l l h a v e m o r e c o n t r o l o v e r t h e f a d e s c u rv e s .
CLEAN CYMBALS
AVOID HARSH HIGH END
OVERVIEW
Even though high-frequency elements sit well together and don't occupy much space
in the mix, having too much energy in that range can make your track sound harsh
and irritating.
One way to avoid that unpleasant frequency build-up is by playing one cymbal sound
at a time.
For instance, mute the hi-hats when the crash hits, and play them back 1/8th note
later.
You can also mute the closed hi-hat when the open hi-hat hits. It can be done by
adding both sounds to the same choke group inside your drum synth vst.
RESULTS
This trick keeps your mix clean and makes your drums sound more realistic.
HUGE TOMS
MAKE THEM STAND OUT
These four simple tricks help your toms stand out in the mix and sound more
prominent.
808 LAYER
Add an 808 layer underneath your tom to provide the sub power.
Make sure its volume envelope works well with the toms.
GATED REVERB
Add a gated reverb to place your toms in a larger space without
messing up the mix. Make sure to EQ the reverb to avoid
muddiness.
SATURATION
Subtle saturation adds harmonics and length and increases your
toms' perceived loudness.
TRANSIENT SHAPER
Finally, add a transient designer to shape the contour of the toms
and the way they hit.
KICK CUTS THROUGH
FOUR TRICKS TO MAKE YOUR KICK STAND OUT
These are four tricks that will help the kick cut through the mix without taking much
space:
TOP LAYER
Layer any percussive sound with high-frequency content on top of
it (top kick, hi-hat, noise, cowbell).
HIGH BOOST
Find the kick snap in the high register and boost it (somewhere
above 4 kHz).
TRANSIENT SHAPER
A transient shaper lets you quickly boost the attack of the kick that
helps it stand out.
ATTACK DISTORTION
Add distortion to the very first part of the kick. Make sure to leave
the tail clean.
KICK EQ CHEAT SHEET
THE KICK MAIN FREQUENCY BANDS
80 hz 200 hz 1 khz
+ Size + Punch + Body + Presence

- Blur - Boxiness - Mudd - Harshness
Here you can find what each frequency band in the kick has to provide. So, for
instance, the right balance can make the kick sound punchy in the low-mid
range, whereas too much energy can make it sound muddy, and so on.
KICK LAYERING
THE SIMPLEST WAY
OVERVIEW
A v e r y s i m p l e w a y t o l a y e r t w o k ic k s w it h o u t h a v in g p ha s e is s ue s is to
c u t t h e u n w a n t e d p a r t s a n d le a v e t h e c o m p o n e n t s y o u w o uld lik e to
keep from each kick.
I n t h e e x a m p l e a b o v e , I k e p t t h e a t t a c k o f k ic k A a n d t he ta il o f k ic k B.
You may have some clicks and artifacts when you play the kick in solo, but it will work
well in the context of the mix.
With this kick layering technique, you don't have to worry about phasing issues.
REVERSED CLAP GROOVE
SPICE UP THE GROOVE
OVERVIEW
Reverse the clap and place it before the actual hit. This simple trick allows you to add
details to your track and make it sound more interesting.
MISTAKE TO AVOID
Don't add a reverse on every clap, just on certain spots that feel
right for you.
SNARE MIX
HELP IT SIT RIGHT IN THE MIX
This four processing guide can help the snare sit right in the mix. Use only the tricks you
need for the mix you're working on.
NOISE LAYER
It's an easy way to add air and grit to your snare without using EQ
or distortion. This layer doesn't have to be loud, so mix it with the
snare by setting its level to taste.
OTT
It's a weird way to apply compression and over-process the snare.
But make sure not to overdo it. Once happy with the effect sound,
use the depth knob to mix the dry and wet signals.
EQ
Use an EQ to cut unwanted low rumble, add low mid-body and
brightness.
TRANSIENT SHAPER
Shape the contour of your snare and the way you would like it to hit.
You can make it soft and long, snappy and short ...
SNARE NOISE LAYER
ADD NATURAL VINTAGE AIR TO THE SNARE
T h i s t r i c k a l l o w s y o u t o a d d o r g a n ic v in t a g e a ir o n t o p o f the s na re to
m a k e i t m o r e p r e s e n t i n t h e m ix .
A - NOISE
Start by generating a noise signal. Pick the noise that
you think sounds best (white noise, pink noise, vinyl
noise).
B - VOLUME ENVELOPE
Add a volume envelope (fade) to shape the contour
of the noise sample, making it fit on top of the kick.
C - MIX
Layer this noise sample on the snare and set its volume
to taste. Make sure to mix both layers in the mix context
for optimal results.
You can recreate the same trick using a gate on the noise channel and sidechain it to
the snare.
SNARE SIDECHAIN
HELP IT CUT THROUGH THE MIX
OVERVIEW
H e l p y o u r s n a r e c u t t h r o u g h t h e m ix a n d h it h a rd e r b y s im p ly
s i d e c h a i n i n g a n y s o u n d t h a t c o m p e t e s w it h it a n d s ha re s the s a m e
frequency area.
EXAMPLE
F o r i n s t a n c e , l e t ’ s s a y t h e c h o r d s m a s k t h e s n a r e t r a ns ie nt. T he n, y o u
c a n a d d a c o m p r e s s o r o n t h e c h o r d s a n d s id e c h a in it t o the s na re .
E v e r y t i m e t h e s n a r e h i t s , t h e c o m p r e s s o r t u r n s t h e c ho rd s ' v o l u m e
d o w n . M a k e s u r e t h e s i d e c h a in is s h o r t a n d f a s t .
UNIQUE DRUM FILLS
FOR NON-DRUMMERS
OVERVIEW
Y o u c a n e a s i l y c r e a t e u n i q u e d r u m f ills c o m b in in g m ultip le d rum s f ills
parts together.
C h o p & e x p e r i m e n t u n t i l y o u g e t t h e r e s u lt t h a t y o u t h ink f its y o ur tra c k

best.
F o r i n s t a n c e , y o u c a n s e e h o w w e m a d e a u n iq u e f ill f ro m thre e f ill

loops.
M a k e s u r e t o p i c k f i l l s t h a t w o r k w e ll t o g e t h e r .
MIXING CONCEPTS
Here are some infographics demystifying the most common mixing tools and
concepts.
AUDIO ENGINEERS VOCAB
PART 1
BOOMY Too much lows
MUDDY Too much low-mids
BOXY Too much mids
HARSH Too much high-mids/highs
DARK Lack of high frequencies
BRIGHT High frequencies build up in a pleasant way
WARM Low-mid frequencies build up in a pleasant way
THICK Contains low frequencies
AUDIO ENGINEERS VOCAB 2
PART 2
THIN Lack of low frequencies
DYNAMIC Volume fluctuations (loud and quiet parts)
PUMPING Volume movement (side-chain, down-up)
SQUASHED Even amplitude across the waveform
AGGRESSIVE Loud, forward, in your face
CLEAN Input tone equals output tone
TRANSPARENT Smooth processing (not obvious)
VINTAGE Old
COMPRESSION 101
WHAT IS IT ALL ABOUT?
BEFORE COMPRESSION AFTER COMPRESSION
FUNCTION
A compressor reduces the dynamic range of your signal to increase its
average/perceived loudness. The goal is to make quiet parts more audible while
keeping the loud parts intact.
DYNAMIC RANGE
Dynamic range is the volume distance between the loudest and quietest parts of a
signal.
WHEN COMPRESSION STARTS?

Compression starts when the signal exceeds the threshold level.
COMPRESSION AMOUNT
The compression amount depends mainly on the ratio but also the threshold. The gain
reduction increases with higher ratios and lower thresholds.
COMPRESSOR PARAMETERS
MOST COMMON PARAMETERS
The Input level that determines when the compression process

THRESHOLD
starts
The amount of gain reduction on the signal that exceeds the

RATIO
threshold
The time it takes for the compressor to reach maximum

ATTACK
compression once the signal exceeds the threshold
The time it takes for the compression to stop once the signal falls
RELEASE
below the threshold
It lets the compression start as the signal approaches the

KNEE
threshold with a progressive ratio
It lets the compressor analyze the signal a few milliseconds ahead

LOOKAHEAD
to control the transients
COMPRESSOR VS LIMITER
WHAT IS THE DIFFERENCE?
Original Compressed
Limited
OVERVIEW
A c o m p r e s s o r r e d u c e s t h e s ig n a l le v e l b y a c e r t a in a m o unt d e te rm ine d
b y t h e r a t i o o n c e t h e s i g n a l e x c e e d s t h e t h r e s h o ld .
W h e r e a s a l i m i t e r w o n ’ t l e t a n y s ig n a l g o a b o v e t h e t h re s ho ld . Y o u c a n
f i n d b r i c k w a l l l i m i t e r s w i t h r a t io ( in f : 1 ) a n d o t h e r s tha t a re a t le a s t
(30:1).
I n o t h e r w o r d s , a l i m i t e r i s a c o m p r e s s o r w it h a c o n s id e r a b ly h ig h e r
ratio!
DB
THE DIGITAL VOLUME UNIT
OVERVIEW
I n t h e d i g i t a l w o r l d , w e u s e t h e “ D B ” t o m e a s u r e t h e v o lum e o f a s ig na l.
0 D B i s t h e c e i l i n g ; w e c a n ’ t g o a b o v e it . O t h e r w is e , w e g e t c lip p ing , re d
m e t e r s , a n d u n p l e a s a n t d i g it a l d is t o r t io n .
-60 DB is the absolute silence.
DELAY PARAMETERS
DELAY TIME The time it takes for the delayed signal to be played back
FEEDBACK The amount of repetitions
INPUT The input level
OUTPUT The output level
HP & LP Built-in EQ to filter and process the delayed sound
MIX The level balance between the original and the delayed signals
DEPTH 101
2
1
OVERVIEW
D e p t h i s t h e c o n t r a s t / i l l u s io n c r e a t e d b y h a v in g s o u nd s up f ro nt a nd
o t h e r s i n t h e b a c k . I t ' s s i m ila r t o t h e p e r s p e c t iv e in g ra p hic a rts w he n
p a i n t i n g o n a f l a t s u r f a c e ( p a p e r ) a n d t u r n in g it in t o 3 D s p a c e . W e w ill
h a v e s m a l l e r a n d b i g g e r o b je c t s .
F o r i n s t a n c e , i f w e h a v e a l l t h e s o u n d s in z o n e 1 o r 4, the m ix w ill s ta y
f l a t . S o w e n e e d t o d i s t r i b u t e s o u n d s in a ll t h e s e d iff e re nt z o ne s . T he
n u m b e r o f z o n e s d e p e n d s o n t h e g e n r e a n d h o w d y n a m ic it is .
The placement and s iz e of the sounds d e p e nd on the

a p p a r e n t / p e r c e i v e d l o u d n e s s a n d n o t t h e a b s o lu t e p ea k le v e l d is p la y e d
on the meter.
T h e r o l e o f t h e s o u n d d e c i d e s in w h ic h z o n e it 's s u p p o s e d to b e .
DISTORTION 101
OVERVIEW
D i s t o r t i o n i s a l l a b o u t c h a n g in g s h a p e s . W h e n y o u d riv e the inp ut,
i n s t e a d o f g o i n g a b o v e t h e c e ilin g in t o t h e r e d , t h e w a v e f o rm is s ha v e d
o f f , i t s s h a p e c h a n g e s , a n d n e w h a r m o n ic s a r e a d d e d t o the s ig na l.
T h e m o s t b a s i c e x a m p l e i s a s in e t u r n e d in t o a r o u n d e d s q ua re . But, if
t h e i n p u t i s m o r e c o m p l e x ( m o r e n o t e s o r a d if f e r e n t w a v e f o rm . . . ) , the
d i s t o r t e d o u t p u t g e t s m o r e c o m p le x .
CHARACTERISTICS
D i s t o r t i o n c a n r a n g e f r o m s u b t le s a t u r a t io n in t o h e a v y a m p g uita r f uz z .
D i s t o r t i o n l i m i t s y o u r s i g n a l, s h a v e s o f f t h e t r a n s ie nt s p ik e s , a d d s
h a r m o n i c s t o t h e s o u n d , i n c r e a s e s t h e p e r c e iv e d lo u d ne s s , m a k e s y o ur
s o u n d s w a r m e r , b r i g h t e r , t h ic k e r , a n d d e n s e r .
EQ FILTERS
CONTROL THE VOLUME OF A SPECIFIC BAND
HIGH PASS (LOW CUT)

It rolls off everything below the center frequency.
LOW SHELF
It lowers or boosts the volume of everything below the center
frequency.
BELL
It boosts or cuts the volume of a specific frequency band.
NOTCH
It rejects a specific frequency band by creating a complete dip
around it.
HIGH SHELF
It lowers or boosts the volume of everything above the center
frequency.
LOW PASS (HIGH CUT)

It rolls off everything above the center frequency.
HEADPHONES VS SPEAKERS 1
PROS & CONS
MONITORS HEADPHONES
+ Accurate Stereo Imaging + More Detailed Top End
+ Less Ear Fatigue + No Room Reflections
+ Low-End Sub Feel + No External Noise
+ Mix Translates Well + Mobile & Adaptable
+ Cheap
- More Expensive
- Ear Fatigue
- Need Room Acoustics
- Bad Stereo Field
- Less Accurate Overall Mix
- No Sub Feel
MONO COMPATIBILITY CHECKLIST
WHAT TO CHECK IN MONO?
You won’t be able to keep your stereo mix 100% mono-compatible. You will always lose
some information, and that’s ok.
LOW END
W h e n i t c o m e s t o p h a s e c a n c e lla t io n , t h e s u b f r e q ue nc ie s a re v e ry
d e l i c a t e . M a k e s u r e t h e l o w e n d ( k ic k & b a s s in f o ) d o e s n’t lo s e its
impact in mono.
LEADS
M a k e s u r e t h e l e a d e l e m e n t s ( v o c a l le a d , s y n t h le a d ) d o n’t lo s e the ir
i m p a c t i n m o n o . T o a v o i d t h is , t r y t o k e e p a m o n o la y e r w he n p ro d uc ing
the track for each part.
SECONDARY ELEMENTS
I t ’ s o k f o r s e c o n d a r y a n d b a c k g r o u n d - w id e s o u n d s to p ha s e a nd b e
p u s h e d b e h i n d , b u t m a k e s u r e t h a t p h a s in g is n o t v e r y o b v io us a nd no
sound completely fades out.
REASONS THE USE EQ
ALWAYS USE YOUR TOOLS ON PURPOSE
After learning each tool's parameters and how it works, you have to learn how to
create music with it. Here's a list of 4 reasons that will let you reach to an EQ to process
your sounds:
FIT IN THE MIX

You can use an EQ to make two sounds fit together in the mix by
providing for each one its own space in the frequency spectrum.
TRANSFORM
You can use an EQ as a sound design tool to completely transform
the original signal and create a new one.
TIMBRE
You can use an EQ to shape the timbre of the sound. Get rid of
unwanted frequencies that are taking away from the sound. And
then, enhance the sound by boosting what you believe it's lacking.
TRANSITIONS
You can use EQ filters to transition between sections and remove
and introduce sounds smoothly. The most common EQ filters are
HP and LP.
RECORDING SIGNAL FLOW
HOW DOES SOUND TRAVEL?
A - AIR PRESSURE
First, you generate a sound by singing or playing an instrument.
B - AIR PRESSURE TO ANALOG

The mic picks this air pressure and transforms it into an analog
signal that travels through cables.
C - ANALOG TO DIGITAL
Then, the audio interface converts the analog signal
it receives into a digital signal that can be read by
the computer (data).
D - DIGITAL TO ANALOG
After receiving this digital signal, the computer sends
it back from the DAW master output to the audio
interface to convert it back to analog.
D - ANALOG TO AIR PRESSURE

Then, the speakers receive this analog signal and
convert it into air pressure.
E - AIR PRESSURE TO SOUND

Finally, our ears' diaphragms receives air pressure
recognized by our brain as sound.
REVERB PARAMETERS
MIX The volume balance between the dry signal and the reverb sound
Reverb duration. The time it takes for the reverb to fade out
DECAY
completely
The time it takes for the reverb to start. It's the time gap between
PRE-DELAY
the dry and the wet signal
EARLY The level of reflections that hit one boundary before bouncing back
REFLECTION to the listener
The level of reflections that hit many boundaries before bouncing

LATE
back to the listener. Together they form the tail (decay) of the
REFLECTION
reverb
Modulate the time distance between the delay taps within the
MODULATION
reverb. It adds a chorusing style effect to the reverb sound
STEREO IMAGE OF SOUNDS
A STEREO MIX IS A COMBO OF ALL THESE SOUNDS
Your mix combines all these types of sounds that together form the stereo image of
the overall stereo image.
MONO CENTER
Great on elements that drive the track and provide the punch: kick,
snare, sub-bass ...
MONO PANNED
Great in crowded, busy mixes. They are easier to locate by the
listener and help you avoid masking by stacking multiple wide
elements on top of each other.
WIDE CENTER
G r e a t o n c e n t e r e d l e a d s a n d p r im a r y s o u n d s : l e a d
vocals, lead melody, top bass ...
WIDE PANNED
Great on your secondary sounds, when you have a fair amount of
elements playing at the same time.
SUPER WIDE
Great on any background sound meant to fill the stereo and
frequency fields or secondary sounds that harmonize the lead. Try
this stereo imaging on piano chords, pads ...
MIXING TIPS & TRICKS
Practical and straightforward mixing tips and tricks to help you achieve a clean and
clear mix.
ABBEY ROAD REVERB
FOR A CLEANER & CLEARER MIX
T h i s t r i c k c o n s i s t s o f f i l t e r i n g t h e s o u n d b e f o r e it r e a c he s the re v e rb o n
the return track.
A l l y o u h a v e t o d o i s t o a d d a n E Q w it h a H P a r o u n d 1 k H z , a L P a ro und 1 0
kHz, and a dip around 3 Khz.
T h i s w a y , y o u w i l l k e e p y o u r m ix c le a n a n d c le a r .
Pl a c i n g t h e E Q b e f o r e t h e r e v e r b m a k e s t h e o v e r a ll e f f e c t s o und
s m o o t h e r a n d l e s s n o t i c e a b le t h a n a d d in g t h e E Q a f te r the re v e rb
plugin.
BIGGER NOT LOUDER
PERCEIVED LOUDNESS, WIDTH & EXTRA HEADROOM
SATURATION
Saturation adds more frequencies and harmonic content to your
signal, making it fatter and brighter. It also shaves off the waveform
spikes for extra headroom.
REVERB (EARLY REFLECTIONS)

Add a reverb that consists of dry early reflections and has a very
short decay. It stretches the original dry signal and makes the
overall sound 3D. Again, it's a very short reverb; it's felt and not
heard.
STEREO MAKER
Add a stereo maker to stretch the sound and make it wider. Try to
keep it mono-compatible (Ozone Imager is free).
Using these three processing, you will create the perception of a bigger sound without
adding more peak levels using the volume fader. The meter will show the same peak
level before and after processing.
CLEAN MIX WITHOUT PROCESSING
GET THE BEST STARTING POINT
RIGHT SOUNDS
Pick the right sounds: samples and presets to save time while mixing fixing them, and
setting their tone. Think about their amp envelope, frequency content and stereo
image.
RIGHT NOTES, OCTAVES & VELOCITIES

Play your patterns with the right notes, on the right octaves, and with the right velocities
to avoid masking and over-compression while mixing.
BOUNCE TO AUDIO
Bounce every track to audio to have a visual idea about your sounds. Always rely on
your ears for the final decision.
CUT & DELETE

Cut unwanted tails and sounds that have no purpose in your track. They take room for
nothing.
GROUP BUSSES
Group similar sounds together to process them as one. This makes your mixing more
efficient by taking fewer decisions to reach the final goal. It also makes the overall mix
more cohesive.
RIGHT - LEVELS / PANNING

Set the correct levels and panning to give each sound its initial placement in the mix.
These values might change after processing.
EQ VS COMPRESSOR
WHICH ONE COMES FIRST?
Instead of using one EQ, we will split the process!
BEFORE COMPRESSION
B e f o r e c o m p r e s s i o n , y o u h a v e t o f ix t h e
problems by cutting problematic frequencies.
I f y o u c o m p r e s s f i r s t , t h e c o m p r e s s o r w ill
increase the problems.
AFTER COMPRESSION
After compression, enhance the sound. Boost
f r e q u e n c i e s y o u t h i n k t h e s o u n d is la c k in g . If
y o u b o o s t b e f o r e , t h e c o m p r e s s o r w ill f ig h t
against your boosts.
EQ CUTOFF RESONANCE
GIVE SOMETHING IN EXCHANGE
OVERVIEW
A l w a y s e x p e r i m e n t b y a d d i n g s o m e r e s o n a n c e a t t h e c uto f f f re q ue nc y .
I t ’ s l i k e g i v i n g s o m e t h i n g t o t h e s o u n d a f t e r t a k in g a w a y f ro m it.
Y o u r c u t s a n d b o o s t s w i l l a ls o s o u n d m o r e n a t u r a l a nd p le a s a nt to the
ears.
I t ' s t h e c o m p l e m e n t a f t e r t h e in s u lt !
GROUP BUSSES
HAVE MORE CONTROL
Group similar sounds together to

process them as one, this helps
you:
ORGANIZATION & CONTROL

H a v i n g a l l s o u n d s i n s i d e s p e c if ic g r o u p s le t y o u s t a y o rg a niz e d a nd
h a v e m o r e c o n t r o l o v e r t h e m ix . Y o u c a n n o w m o v e f i v e f a d e rs ins te a d
o f t e n s o f f a d e r s t o s e t t h e le v e ls .
EFFICIENCY
B e m o r e e f f i c i e n t b y a c h i e v in g y o u r g o a ls w it h f e w e r d e c is io ns a nd
p r o c e s s i n g . F o r i n s t a n c e , a d d o n e r e v e r b t o a ll y o u r g uita rs a nd s y nth
c h o r d s t h a t h a r m o n i z e t h e le a d in s t e a d o f a d d in g a s e p a ra te o ne f o r
each.
GLUE
Y o u r m i x w i l l b e m o r e c o h e r e n t , s o lid , a n d g lu e d . T h is is a c hie v e d b y
a d d i n g s i m i l a r p r o c e s s i n g t o s o u n d s t h a t f a ll u n d e r t h e s a m e c a te g o ry
o r s h a r e t h e s a m e p u r p o s e in y o u r s o n g . M a k e e v e ry thing b e lo ng
together.
MIXING STEPS GUIDE
GET 80% DONE USING 20% OF THE EFFORT
LEVEL FADERS
Set the primary volume relationship between your sounds. You may come back and
readjust these initial values as the mix evolves.
PAN POTS
Panning opens the mix and adds sound separation/distribution across the stereo field.
It's a very effective way to create width without phasing issues.
EQ
Make sure each sound has the right tone and occupies the right frequency range. You
have to get rid of unwanted frequencies and give each instrument its own space.
COMPRESSION
Mainly, it's used to add volume consistency to your signals. But you have to also think
about shaping the contour of your sounds and how they hit.
DISTORTION
It adds harmonics to your signals for extra perceived loudness. As a result, you end up
with a fuller, thicker, denser mix and more headroom.
EMBELLISHMENT (REVERB & DELAY)

Fill the gaps, place the sounds in a context, add space, depth, width, dimension, rhythm,
and glue.
SIMPLE DEPTH TRICKS
MOVE YOUR SOUNDS BACK & FORTH
Depth is created in a track by having sounds upfront, sounds in the background, and
others in between. Below, you will find three easy ways to move sounds back and forth
to create contrast, and thus, the illusion of depth in the track.
VOLUME
Y o u c a n c o n t r o l t h e s o u n d p o s it io n b y s im p ly m e s s in g
w i t h t h e v o l u m e f a d e r . L o u d s ig n a ls s o u n d b ig g e r a nd
closer, and vice-versa.
TRANSIENT SHAPER
P u s h t h e s o u n d b a c k a n d f o r t h b y m e s s in g w it h its
a t t a c k . C l o s e r s i g n a l s h a v e m o r e a t t a c k a n d v ic e - v e r s a .
LP FILTER
P u s h t h e s o u n d b a c k a n d f o r t h b y c u t t in g a nd
i n t r o d u c i n g h i g h f r e q u e n c i e s u s in g a L P f ilt e r . C lo s e r
s o u n d s h a v e m o r e h i g h f r e q u e n c ie s a n d v ic e - v e r s a .
SIMPLE WIDTH TRICKS
STRETCH YOUR SOUNDS
These three simple processing help you turn your mono sounds into wide stereo
sounds. However, be careful; wide sounds phase in mono and lose some info.
Therefore, you have to find the right balance between wide and narrow sounds.
AUTO PAN
Y o u c a n c r e a t e m o v e m e n t a n d w id e s t e r e o b y m a k ing
t h e s o u n d m o v e b e t w e e n t h e le f t a n d r ig h t c h a n n e ls
o v e r t i m e . I f t h e s o u n d i s m o n o , it s t a y s m o n o b ut
c r e a t e s a n i n t e r e s t i n g l e f t / r ig h t m o v e m e n t .
HAAS EFFECT
T i m e o f f s e t b e t w e e n t h e l e f t a n d r ig h t c h a n n e ls ( le s s
than 35 ms). Use this effect on secondary sounds
b e c a u s e t h e y w i l l s o u n d w e a k e r in m o n o .
STEREO MAKERS
O n e k n o b p l u g i n s t h a t t u r n y o u r m o n o s ig n a ls in t o w id e
stereo. Try Ozone Imager 2 (free).
SYNC ECHO
DELAY IS AN INSTRUMENT
D e l a y h a s t o b e t r e a t e d l i k e a n y o t h e r r h y t h m ic in s t rum e nt in the m ix .
Y o u h a v e t o p r o c e s s i t t o f i t w e ll w it h t h e o t h e r s o u n d s .
B u t m o r e i m p o r t a n t l y , y o u m u s t e n s u r e t h a t y o u r e c h o d e la y tim e s a re
a l w a y s s y n c e d t o t h e t r a c k t e m p o u n l e s s y o u 'r e g o in g f o r a s p e c if ic
effect.
N o w a d a y s , m o s t p l u g i n s o f f e r n o t e le n g t h o p t io n s t o s e t the d e la y tim e
( 1 / 4 ,1 / 2 . . . ) .
MASTERING TIPS & TRICKS
Practical and straightforward mastering tips and tricks to help you achieve loud,
competitive tracks that work on any sound system.
ANALYZERS
VISUAL CONFIRMATION
N e v e r h e s i t a t e t o u s e a n a l y z e r s w h e n m ix in g a n d m a s te ring yo u r t r a c k s .
E v e n t h o u g h y o u m u s t r e l y o n y o u r e a r s f o r t h e f in a l d e c is io n, the s e
p l u g i n s h e l p y o u g e t v i s u a l c o n f ir m a t io n o f w h a t y o u 'r e he a ring .
T h e y a l s o h e l p w h e n c o m p a r in g y o u r t r a c k t o a r e f e r e nc e .
Y o u c a n u s e t h e m t o c h e c k lo u d n e s s , p h a s e , f r e q u e n c y c o nte nt, s te re o
image.
R e m e m b e r , n o t e v e r y o n e h a s a c c e s s t o h ig h - q u a lity s p e a k e rs a nd
t r e a t e d r o o m s , s o t h e s e t y p e s o f p lu g in s c a n c o m e in h a nd y .
LOUDER MASTER
WAYS TO INCREASE PERCEIVED LOUDNESS
This three effect processing increases the perceived loudness and makes your track
compete with others on the market. Loudness is not only about the volume fader and
the peak level found on the mixer meter. It's also about the dynamic range & the
frequency content.
COMPRESSOR
Add a compressor to increase the RMS le v e l a nd
w e l c o m e t h e q u i e t p a r t s i n t h e m ix .
MULTIBAND EXCITER
A d d a m u l t i b a n d e x c i t e r t o g e n e r a t e h a r m o n ic s w it h o ut
m e s s i n g w i t h t h e d y n a m i c s . It a d d s f u lln e s s , d e n s ity ,
and brightness.
LIMITER
Add a brick-wall limiter to reach the target LUFS
l o u d n e s s . D o n o t s q u a s h t h e s ig n a l a n d d e s t r o y t he
d y n a m i c s c r e a t e d w h i l e m i x in g .
MASTERING FACTS
USE THEM EVERY TIME YOU MASTER YOUR TRACK
You have to consider these tips and facts when mastering your music. These are pretty
handy guidelines to optimize your mastering process and quality.
THE MIX
You must understand this simple truth: mastering cannot fix a bad mixed or produced
track. So make sure to fix everything before moving to the mastering stage.
BREAK
If you have time, make sure to take a break from the track you produced and mixed for
a few days. Then, come back and master it with a fresh perspective.
REFERENCE
Don't worry if you don't have access to great tools such as a treated room or a decent
pair of speakers. All you have to do is pick a track that has the exact bpm, key, genre,
and vibes of your track and use it as a reference.
MULTIBAND PROCESSING
Multiband plugins are powerful tools that give the mastering engineers much flexibility
when mastering for others. But, since you have access to the original mix, it's better to
come back and fix it in the mix unless you're going for a specific effect.
STREAMING PLATFORMS REGULATIONS

Each streaming platform has its regulation when it comes to loudness. You don't have
to follow these rules, but consider them when mastering. Sometimes, it doesn't make
sense to squash your track in exchange for extra LUFS that won't count.
SPEAKERS LEVEL
TWO HEARING LEVELS
Always stick to two hearing levels, and keep going back and forth between them while
mastering.
LEVEL 1
The first level should be loud enough to hear and feel the bass frequencies. This is
essential to ensure the bass is working well and is not messing up the whole master.
LEVEL 2
Set level 2 in a way that allows you to hold A conversation in the same room. This one
will be less tough on your ears, help you spend more time working on the track and
focus more on the mid and high frequencies.
TEST THE FINAL MASTER
REFERENCE SYSTEMS
Once mastered, you will have to test your track on as many sound systems as
possible. These are all the possible systems that your listeners will use:
SMALL SPEAKERS
Make sure the track low end is still audible on small speakers (laptop, phone) and that
the mid and highs don't sound harsh and irritating.
MONO SPEAKERS
Test your track on mono Bluetooth speakers to make sure phase cancellation is not
having a massive impact on your track.
HEADPHONES
Headphones can be a great tool to reference and listen to your track in an isolated
environment without cancellation and outside noise.
CAR
Make sure your track low frequencies don't destroy the mix on bigger sound systems.
I highly recommend testing your master on as many sound systems as possible

before releasing it. If you're lazy, at least try the track in a car and on mobile.
OUTRO
I hope you have read and practiced all the knowledge provided in this ebook. I want
you to know that I appreciate the time and effort to achieve your dreams and goals. I
wish I have played a small part in your growth.
Thanks again for supporting our products. If you would like to learn more, make sure to
follow us on social media, and feel free to visit our website, where we provide high-end
products that can help you learn and make music with ease.
VISIT NOW

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PLUGINS USED IN THIS EBOOK

AN EBOOK FOR BEGINNERS & ADVANCED

USE WHAT YOU NEED

THESE ARE ONLY GUIDELINES

SPAN SATURATION KNOB

BITTER SWEET PANCAKE

PRODUCER GUIDE PRODUCTION TIPS & TRICKS

LEARNING STEPS ARRANGEMENT FILTERS

PRODUCTION PROS & CONS CHORDS LENGTH

WHERE TO START? ... THE DAW CONTRAST BETWEEN SECTIONS

MUSIC THEORY ESSENTIALS FILL THE TRACK

BASIC MIXING PIANO ATTACK

BASIC MASTERING CHAIN MELODY ACCENT

CONSISTENCY PITCH BENDS

PRODUCER MISTAKES - PART 1 SYNTH MOVEMENT

FINISH MUSIC FASTER - PART 1 SYNTH NOISE

MUSIC THEORY TREMOLO VS VIBRATO

CHORD INVERSION VOLUME RHYTHMIC LFO

CHORD PROGRESSIONS VIBES 1

CHORD VOICING BASS TIPS & TRICKS

CIRCLE OF FIFTHS BASS GLIDES

MAJOR SCALE BASS LAYERING

NATURAL MINOR SCALE BEST SUB BASS

POPULAR MAJOR PROGRESSIONS 1 MELODIC BASS

VOCALS TIPS & TRICKS MIXING CONCEPTS

PITCH VS FORMANT AUDIO ENGINEERS VOCAB 1

PANNING BACKGROUND VOCALS AUDIO ENGINEERS VOCAB 2

VOCALS CONSISTENCY COMPRESSION 101

VOCALS EQ - PART 1 COMPRESSOR PARAMETERS

VOCALS EQ - PART 2 COMPRESSOR VS LIMITER

VOCALS EQ CHEATSHEET DELAY PARAMETERS

VOCALS TOP AIR DEPTH 101

DRUMS TIPS & TRICKS EQ FILTERS

808 & TOP KICK HEADPHONES VS SPEAKERS 1

CLEAN CYMBALS MONO COMPATIBILITY CHECKLIST

HUGE TOMS REASONS TO USE EQ

KICK CUTS THROUGH RECORDING SIGNAL FLOW

KICK EQ CHEATSHEET REVERB PARAMETERS

KICK LAYERING STEREO IMAGE OF SOUNDS

REVERSED CLAP GROOVE

SNARE NOISE LAYER

UNIQUE DRUM FILLS

MIXING TIPS & TRICKS MASTERING TIPS & TRICKS

ABBEY ROAD REVERB ANALYZERS

BIGGER NOT LOUDER LOUDER MASTER

CLEAN MIX WITHOUT PROCESSING MASTERING FACTS

EQ VS COMPRESSOR SPEAKERS LEVELS

EQ CUTOFF RESONANCE TEST THE FINAL MASTER

MIXING STEPS GUIDE

SIMPLE DEPTH TRICKS

SIMPLE WIDTH TRICKS

DAW & Step by Step Start to Finish Tutorials

Music Theory Essentials

Basic Sound Design

Dive Deeper Into Mixing

Dive Deeper Into Sound Design

Dive Deeper Into Mastering

HOW TO LEARN IT? START WITH THE BASICS

START TO FINISH TUTORIALS

NOTES Learn the name of each note on the keyboard