INTRODUCTION

When you’re first getting started in music production, mixing is the last thing
on your radar. You’re devoting most of your time and energy to just figuring
out how to make sounds, program drums, master music theory, and a million
other things.

It’s like writing a book: a writer is focused on putting pen to paper and crafting
a story - the story is your song. Mixing is like editing: the story is done, but now
we need to go through and make sure everything fits neatly together. Just like
editing, mixing is crucial for ensuring your track sounds clean and professional.
In fact, knowing how to mix is one of the biggest factors separating profession-
al artists from average bedroom producers.

For these reasons, mixing can be intimidating. But we’ve got good news:

Mixing is a process that can be easily mastered by

taking a structured approach.

Sure, you’ll constantly be developing your ear for mixing, but even total begin-
ners can achieve radio-quality drum and bass mixes by following tried and true
steps.

In this guide, we’ll break these steps down into an actionable roadmap. We’ll
also talk about how you can train your ear to always be listening with the mix
in mind, as well as outline the reasons your mix might be having trouble.

Ready?
 01
GET ORGANIZED
Before we jump into the mixing stage, it’s an incredibly useful (and highly pro-
fessional) move to take some time to organize your project. There aren’t any
“right” answers here, but there definitely can be “wrong” ones. As you develop
your skills as a producer and mixer, you’ll also develop an idiosyncratic style of
organizing your workflow.

Popular approaches include grouping tracks by instrument or frequency

band, and then further macro-grouping them according to the section of the
song. (In Logic, for example, you can create nested track stacks.) The best way
to visually demarcate your assets is to color code them. Every DAW has this
ability. For example, you might have your visual spectrum mirror the audible
spectrum: anything in the low end might be various shades of a darker color
(drums, basses, etc), the mids (vocals, percussion, synths, etc) might be slightly
lighter, and anything in the higher end could be a bright pastel.

Again, there are tons of different approaches, so don’t be afraid to experiment!

02
REFERENCE
Reference tracks are basically cheat codes.

As the name implies, a reference track is a song that you reference while mixing
your own song. It should be from the same genre or in a similar style, as songs with-
in the same genre often have the same sonic characteristics.

Referencing a professionally mixed track can be a powerful technique. It’s likely that
you’re mixing your track on consumer-grade monitors or in non-acoustically treated
spaces. But a professional track will have been mixed in, well, a professional environ-
ment. That means they are able to hear the most “honest” version of their tracks.

What does this mean?

Well, take a regular pair of headphones. If you try to mix your track using these, you
might reach a point that you think sounds good on those specific headphones. If
you tried to play the same mix on your phone speakers, though, all sorts of problem
areas would become evident. This is because most regular headphones and speak-
ers “color” sound - that is, they add or subtract to certain frequencies to make them
more or less prominent. Beats headphones, for example, are notorious for cranking
up bass frequencies.

By analyzing a reference track, you can see exactly what sort of sound profile you
should be aiming for and use a variety of tools and techniques to sculpt your track
so that it mirrors the reference.

Here’s how this process should look:

A) Choose a Reference

There are really only two requirements for choosing a reference track: it should be
from the same (or similar) genre as your own track, in this case drum and bass (be
sure to still pick a track in a similar sub-genre to yours, e.g. liquid vs. neurofunk), and
it should be a professional release (using your buddy’s questionable mix probably
isn’t the best idea).

Do so some digging online to see if there are any tracks in your genre that are gen-
erally regarded as having a great mix. DRUM AND BASS TRACKS?
Similarly, try and find songs that people consider as having bad mixes. This will
give you an idea of what separates the good from the bad.

Then, and this is crucial, download these songs in a lossless file format like FLAC,
WAV, AIFF (if you’ve purchased a song, it should be in one of these formats). Oth-
erwise, try and find an MP3 that’s at least 320 kbps. Lossless formats ensures that
you’re hearing the highest quality version of that song possible.

B) Start Listening

Now you need to start honing your ability to hear what differentiates a good
drum and bass mix from a bad drum and bass mix. Listen to the reference tracks
on as many different devices as possible.

C) Put Your Song to the Test

Once you’ve gotten a feel for your reference tracks, it’s time to compare them
to your own track. Load up your DAW with two tracks, one for the reference and
one with a bounce of your song.

We need to do a bit of housekeeping first to make sure the two tracks are actu-
ally comparable to each other. You’ll need to turn the reference track down to
match the amount of headroom available on your own track.(Note: Headroom is
how far below 0 dB your track is.

From the start of the production process, you should make a point of keeping all
of the tracks on your song well below 0 dB. This will help you get the most out
of the mixing and mastering phases.) So let’s say your bounce is sitting at -3 db.
Turn the reference track down to -3 dB by using a gain tool.

Next, load up instances of a graphic EQ and stereo imager on both tracks and hit
play. Switch between soloing each track and see how the following compares:

• How is the reference track panned compared to

mine?
• How does the reference track’s frequency spec-
trum compare to mine?
• How does the overall acoustic depth of my track
compare to the reference?
• Is there loads of reverb? Does it sound like every-
thing exists in the same room?
 Don’t worry about overanalyzing this stuff from a technical standpoint. You want to
instead really try and focus on what your ears are telling you. How is the sound affect-
ing you on a gut level?

Here are some of our reccomendations for drum and bass tracks with solid mixes.
Listen and see which one most closely mirrors the style of your own track.

HumaNature Ivy Lab

Since I’ve Known You 20 Questions

Kasra June Miller

Ski Mask Spin Test
03
SAMPLES
Many producers overlook the anticipatory steps that can be taken to make
the mixing phase easier. It’s important to recognize that mixing starts the
minute your track is created. That doesn’t mean you should be actively mix-
ing while arranging (this can actually lead to a lot of problems), but you
should be making arrangement decisions with the mix in mind.

One of the easiest ways to avoid headaches down the road is to start your
track with high-quality samples. To illustrate, a random rip of bootleg 808
drum samples will likely have a lot of noise artifacts and sound pretty bad.
Correcting this will take a lot of effort during the mixing phase (if it’s even
possible at all). By contrast, if your drum samples are already compressed and
EQ’d from the start, then they’ll require minimal corrective attention.

There are tons of great sample packs online. If you’re looking for a starting
point, check out some of our free samples!

Click here for our

FREE
SAMPLE PACKS
 04
FREQUENCY SPECTRUM
During your analysis of the reference track, you should get an idea of how the
frequency spectrum is being filled out. This is easily done by loading up an EQ
and playing through the song.

A graphic detailing where commons sounds fall in the frequency

spectrum.
 A general guide on where
sounds should be situated
within your stereo image.

This image is an excellent depiction of the frequency range in relation to

drum and bassproduction.
(Image pulled from Internet)
05
GAIN
Gain staging sounds much more complicated than it is. It’s also an incredibly
powerful process that will really beef up your tracks.

It is nothing more than maintaining a consistent input/output level across a

track’s signal chain. Back in the days of strictly analog gear, gain staging was
crucial to ensure that your signal stayed undistorted after being run through
multiple hardware units, each of which would leave a marked audio signa-
ture. In the digital age, producers have access to much cleaner tools, but gain
staging is still important, nonetheless.

So, what’s actually going on?

Let’s assume we have a dry vocal sample. When we play it, it’s outputting at
around -9dB. Cool, but some of those peaks are too high. So we add a com-
pressor. The audio is more uniform, but it’s gotten quieter - now we’re output-
ting at -12dB. Gain staging is the process of bringing that signal back up to
-9dB. An easy way to do that is to add a gain plug-in and crank it up to +3dB,
thus increasing our output from -12dB to -9dB. This is a very simple example,
and there are a multitude of gain staging techniques. Volume automation
is another quick way to gain stage. The overall principle remains the same,
though.

There are a couple of things to keep in mind with gain staging.

Keeping the input and output levels exactly the same is not a hard and fast
rule. Sometimes a little increase in loudness is what your track needs. On the
flip side, even if your input/output ratio is consistent, you might still be losing
overall power.
Using an effect like reverb, for example, is going to emphasize higher frequen-
cies, which our ears hear as quieter due to their shorter wavelengths. So even
if your input into the reverb is -9dB and your output is coming out the same,
you might still be losing power, in which case slightly increasing your output
wouldn’t be a bad idea.

Gain staging is also the phase of the initial balancing of all the sounds in the mix.

For example, if you gain stage your drums, you’re balancing the kick, snare, hats,
percs, etc. to find the balance within your drums that you want.

Doing proper gain staging and balancing is about 50% of the whole mixing pro-
cess or more

You can do all the EQ / compression / limiting etc. But if your track isnt properly
balanced, it wont sound good.

You can properly balance a mix without doing any EQing and it can sound good.

Getting the levels right is the most important part in the mix.

There are a couple of things to keep in mind with gain staging.

Keeping the input and output levels exactly the same is not a hard and fast rule.

Sometimes a little increase in loudness is what your track needs. On the flip side,
even if your input/output ratio is consistent, you might still be losing overall
power.

Using an effect like reverb, for example, is going to emphasize higher frequen-
cies, which our ears hear as quieter due to their shorter wavelengths. So even
if your input into the reverb is -9dB and your output is coming out the same,
you might still be losing power, in which case slightly increasing your output
wouldn’t be a bad idea.
06
CHANNEL BUSSING
Busses can be another confusing topic for beginners, but their purpose is ac-
tually revealed by their name: when you create a bus, you take a group of mul-
tiple mixer tracks and “bus” their signal to another single mixer track, where
they are processed as a group.

There are many cases in which bussing is useful. First, it can save a ton of pro-
cessing power, especially if you’re working with an older computer. Instead of
loading up instances of reverb on every single track, for example, create a re-
verb bus and send all of your tracks to it. That way, your CPU is only having to
process one instance of reverb being applied to multiple tracks.

It can also be used to achieve stylistic uniformity amongst different ele-

ments in your song. Maybe you want all of your synths to have the same grit-
ty, flanged sound. You might create a bus and load it up with a saturator and
flanger, then route all of your synth tracks toward it. This will create a lot of
depth and separation between the synths and other sections of your track.

Something to keep in mind with busses is the concept of parallel processing. If

you are parallel processing something, it essentially means that you are using
it twice. When you send a track to a bus, it creates a second instance of that
track. Imagine two parallel lines side by side. Now pretend they’re two tracks:
one is your original drum track, and the second is the bussed drum track that
has reverb, compression, EQ, etc. If you only want to hear the processed bus
track, then you’ll need to turn down the fader on the original drum track you’re
sending. Typically, you’ll also need to increase its output level, as bussing tends
to reduce loudness.
 07
EQ
EQ can be a fickle beast.

The underlying principle is quite simple: increasing or decreasing the loudness

of a particular part of the frequency spectrum. The effects, however, can be
quite drastic.

EQ is generally used with two different goals in mind: sound design and mix-
ing. While there can be some overlap, they largely require very different men-
talities.

When equalizing for sound design, you’re pretty free to exercise creative li-
cense. Exaggerated cuts and extreme boosts are expected, and experimenting
can lead to some pretty cool results.

On the other hand, when EQing during the mixing phase, restraint is the
name of the game. You should always have a purpose, something concrete
you’re trying to achieve. Randomly fiddling around with different frequency
bands to see if things start sounding “right” isn’t an effective strategy, and if
done too harshly, can have a negative effect on your track. It can be helpful to
think of EQ as a process of yin and yang - make cuts to open up room for other
frequencies, make boosts to fill in empty spaces. General rule of thumb; take
a subtractive approach to EQing during the mixing phase. It’s better to make
cuts than boosts.

First, you need to figure out why you’re EQing a track. Is it because there’s a
buzzy resonance? Maybe a lot of sibilance (“s” sounds)? A common technique
for identifying problematic frequencies is to boost a band with a very high Q
factor (“Q” stands for quality factor, Q > 1 means a narrower width while < 1
means a greater width) and sweep it across the spectrum.
This will cast a spotlight on any whacky tones in the track.

Maybe you want to apply some EQ because your vocals are getting drowned out.
Your instinct will likely be to boost the vocals - don’t! Before boosting a frequen-
cy to bring it out in the mix, always try cutting frequencies around it first.

Look through your tracks and see which ones might be clashing with the vocals,
and lower them instead (for sharper, clearer vocals, try cutting around 2kHz). If
your first move is always to boost a frequency, this build up in volume can con-
tribute to what’s called “loudness creep,” which happens when producers slow-
ly but surely increase the overall loudness of their track as they try to bring out
different elements in the mix.

That’s not to say that you can’t ever boost, but this approach will help keep an
even dynamic balance in your track.

For more in-depth

information on EQing,

click here to enroll in our

DNB FOUNDATIONS
TRAINING PROGRAM
 08
COMPRESSION
Compression is similar to EQ in that it’s a highly important yet often misunder-
stood tool.

A compressor does what it says: it “compresses” an audio signal so that the dif-
ference between its loudest and quietest parts is decreased. This is very useful
for making something sound louder without actually increasing the volume.
Our ears perceive loudness as fullness and richness, which sounds “better.”

You’ll almost always want to compress your drums and your vocals (if they’re
original takes; vocal samples might already be heavily treated, so play around
with them). It’s also beneficial to place a compressor on any group busses you
have, like your drum bus, which will help these tracks sound more cohesive as
a whole. Another neat trick is to compress singular sounds that are getting lost
in the mix. Even if it doesn’t actually increase the loudness, our ears are more
easily able to hear a signal that has uniform dynamics.

The amount of compression you apply should also be informed by the style of
your song and the sections of your arrangement. Certain passages, like a quiet
intro, will not need much compression, whereas the energetic drop will need
a lot of compression to help create a harmonious balance between all of the
disparate elements.

For a more in-depth look at compression, check out our FREE Mixing for DAWs
videos.
09
PANNING
Panning is how you organize your track’s stereo image, and it’s something
new producers tend to overlook or outright forget about.

When you listen to live music, the musicians playing the instruments are not
all going to be standing a straight line. The drummer might be off to the left,
the bassist to the right, a lead guitarist toward the middle, etc. Panning helps
bring this live spatial dynamicity to produced tracks, while also contributing
to your mix by giving each track space to breath.

Take a look at where most of the elements in a modern drum and bass song
are placed:

KICK

SYNTHS GUITAR
BASS

Next time you listen to music, make a concerted effort to map the stereo
image of what you’re hearing. Once you learn the general rules, you can start
experimenting - panning can be a really interesting way to add unique a
rtistry to your tracks.
 10
REVERB
It takes even the best of producers years to master reverb. It’s a complex effect
that can be used in a seemingly infinite variety of ways. Don’t worry, though.
That’s only if you want to get really funky with it. In the majority of cases, reverb
is used in a very straightforward manner.

The main purpose of reverb is to give your songs an organic feel. You might not
notice if reverb is there, but you certainly will notice if it isn’t - a song without
any reverb would sound very sterile and fake. Even when producing electronic
music like drum and bass, we want to convey a sense of space, as if all of our
tracks are being played within the same room.

Pro Tip: Sending your tracks to a reverb bus will apply the
same amount of reverb to all of them, contributing to the
psychoacoustic impression that they are all being played in
the same space. It will also save you a ton of CPU.

Shorter reverbs (200 -700ms decay) will make things sound like they’re in the
same room. A medium reverb (1 - 2 second decay) will add more depth to your
mix and help distance a track from the sounds around it.

Longer reverbs (2 second or more decay) are typically stylistic and are used to
create big, washed out atmospheres that help add gravity to certain moments,
such as the build up to a drop or a spacey bridge. Use long reverbs sparingly,
though, as they will add a lot of muddiness if pushed too far.
FINAL STEPS
Before you consider your track ready for mastering, make sure that you’ve done
the following:

• Grouped and organized all of your tracks and bussed them accordingly:

synths, drums, vocals, FX, etc.

• Mixed all tracks around a reference point. For drum and bass, that means

you treated the kick and bass first (sitting at around -6dB) and then mixed all

your other tracks to fit around them.

• Examined every track and treated it so that it fulfills a purpose in the mix.

• Used reverb to create your desired effect, whether that’s cohesion, gravitas,

or spaciness.

• Stepped back from your track and revisited it a couple of days later. Ear fa-

tigue is real, and if you’ve been mixing all day, you’re not going to be getting

a realistic impression of your mix.

For a deeper look at mixing and the other fundamentals of

drum and bass production, be sure to enroll in our

DNB FOUNDATIONS
TRAINING PROGRAM
MIXING CHECKLIST
1. Get Organized
Make sure your track is organized in a way that feels intuitive to you. This makes mixng one million times
easier.

2. Reference
Compare your song to a well-mixed track. Use this track as a guide - see how it fills out the frequency
spectrum and where elements fall within the stereo field.

3. Samples
Choose high-quality samples that have already received professional treatment. Your job will be a lot less

complicated this way.

4. Frequency
Ensure that you’ve filled out the frequency spectrum, without any tracks competing for dominance in any

given band.

5. Gain Staging
Make sure that the signals going into your tracks are at the same level as the signals going out. Organize your

track’s loudness around the kick and bass.

6. Channel
Send track groups to busses that will process these sounds in tandem. Decide whether or not you want

parallal processing or only the wet bus signal.

7. EQ
Are you EQing for sound design or to help out the mix? Have a “cut before boosting” mindset. Make sure there

is nothing competing with the kick and bass in the low-end.

8. Compression
Certain samples might already have been compressed. Ensure that your drums and vocals are being run

through a compressor. Consider adding compression to tracks that aren’t quite coming through.

9. Panning
Give each track space to breath. Down the middle, you want: kick, bass, vocals, leads (sometimes); to the

side: FX, percussion, synths, pianos, etc.

10. Reverb
Bus similar tracks to a reverb channel. Try to create the psychoacoustic impression that all of your tracks are in

the same real space. Use reverb sparingly to create moody, atmospheric passages.
MIXING BUNDLES
One way that producers begin to develop their style is by collecting an arsenal of tools
and plug-ins that they use heavily. These days, most DAWs come replete with an arse-
nal of incredible stock tools that would have made many studios of yesteryear
envious. You should learn the general principles of mixing by using the plug-ins your
DAW comes with, but whenever you decide you’re ready to take the (expensive) plunge
into third-party VSTs, here are our picks for the best mixing bundles.

Waves DIAMOND
Waves is one of the biggest names in audio
production, and their Diamond
bundle provides you with all of the tools
needed to start mixing your own tracks.

Clocking in at an astounding 73 plugins,

this pack is often offfered at discounts of up
to 95%, so be on the lookout for a flash sale!

$415
Fab Filter MIXING

Many consider Fab Filters’ suite of plug-ins

$679
to be industry standards. With their
Mixing bundle, you gain access to the 8
plugins, including wildly popular Pro-Q 3
EQ and the Pro-C 2 compressor, as well as
a reverb, deesser, and more. The quality of
these tools cannot be overstated.
Slate VMR 2.0 MIXING BUNDLE
The VMR 2.0 Mixing Bundle from Slate
Digital recreates the look and tone of the
analog mixing racks of the past. Up to 8
plug-ins can be placedf in a rack, allowing
for a wealt of analog goodness. This can be
purchased as a standalone VST, or used as
part of Slate’s unique All Access Pass, which
allows you to use $5,000 worth of plug-ins
for $149

$149

Melda Production
MMIXINGFXBUNDLE

Ignore the run-on name, this assortment

of 31 plug-ins from the Prague-based

Melda Productions puts an army of

mixing tools at your disposal.

It’s got everything you could ever need,

and each plug-in features a sleek, inutive

UI.

$657
Kilohearts TOOLBOX ULTIMATE
Kilohearts is a smaller audio software
company, but their unique modular
approach to signal chains allows you to
create your own custom effects racks. The
Toolbox Ultimate contains every plug-in in
their lineup, allowing for a robust
mixing workflow. And at $499, this thing is
a steal.

$499
 Copyright Information

THE DRUM ‘N BASS

MIXING ROADMAP

Copyright © 2020 DNB Academy

All rights reserved,

No part of this book may be copied or transmitted by any means without the expressed
consent of the owner.