I’ve been using a pair of lcd-x’s and they’re great!

Whilst they sound great, they don’t fit on my head nicely. They feel too loose. If I bend my head forward to pick up a loose guitar pick, the whole thing falls off my head!

What is the mm500 like in terms of fit? Is it just the same pair of headphones but voiced differently?

Also, cheaper alternatives also appreciated…

So there's many version's, copies, and just a ton of plugins out there nowadays especially, like waaaay to many lol

How did you decide "Okay, this is the plugins I'll keep, This plugin works better than those. I don't that plugin I'll use this plugin" ETCS??

Like, do you still use CLA76 if u have TRacks 76, UAD 76, PA 76 (WHY HAVE SO MANY !! AHH)

I'd like to simplify my plugin list and not have so many options TBH lol

Unfortunatly, I bought the 2022 PA ALL Bundle (not subscription)
I also have old Waves Bundle so I got a bunch of those
I bought UAD on a whim other day cause I always wanted to try
Also total studio max I bought for 150$ an it came with its own suite of plugins lol

I also have my DAW STOCK, and some others, so I have so many now

Like,
Ideally I'd like to categorize my favorite plugins list into sections

I was thinking of putting all my plugins into categorys like
EQs
Exciters
Rverbs
Delays
Compressor
Distresstor

Then labeling my favorites and hiding the rest for now. Right now just scroll down my Waves/Pa Alliance, and now fricken UAD spark plugins and choose what I think would work

I think having a curated list and being like "Ah I need an exciter, what do i use" *Checks list* would work good lol

TL;DR
How do you deal with so many plugins?
What makes you keep going back to your favorite plugins and why?
Do you organize your plugin into categories?
What makes you choose a certain plugin over another brands imiation? lol

Hey everyone,

I know there’s no universal “correct” workflow and every song is different. I’m not looking for the perfect chain, just curious about your default starting point for mixing Rap/HipHop vocals.

I’d love to see how you usually structure your sessions.

For example:
Lead Vocal → Vocal Bus → Master?
Or Lead → All Vox Bus → Mix Bus → Master?
Do you use separate buses for doubles, ad-libs, harmonies, parallel compression, FX returns, etc.?

Also, which plugins typically live on each stage?

For example:

Lead Vocal:
EQ?
De-Esser?
Compression (1176/LA-2A?)
Saturation?
Clipper?

Vocal Bus:

Glue Compression?
Tonal EQ?
Tape?
Saturation?

Mix Bus:

Bus Compressor?
Tape?
Limiter?

I’m especially interested in the order of the plugins and why you prefer that routing.

thanks for everyone who could share his routine.

I've been wanting to do a mix to get some feedback on to get better at mixing for a while now, and I saw there was a mix camp a year ago on here. Any feedbacks welcomed, but I would specifically like any feedback that will help me in future mixes. Thanks in advanced.

https://voca.ro/1br0EAg331cG

Ok, I've read the guidelines a couple times and I think I'm in compliance here - if not, my apologies! But, I've been working on an original instrumental project for the last year and a half or so - think Joe Satriani, Andy Timmons, Nick Johnston, that sort of thing - and I've been working on the mixing lately. This is... getting there, but still not 100%, and I'd love a fresh set of ears on it.

Link:

https://drewpeterson.org/wp-content/uploads/2026/07/ghost-dance-rough-mix.mp3

Here's as much info as I can think of, that might be helpful:

Guitars are all real amps and mics. Mostly a Strat, though there's a few others here and there. Bass was a DI, with a TSE BOD2 doing most of the heavy lifting ITB, though a little bit of EQ on input as well. Drums are Superior 3, programmed by hand because I evidently hate myself, but I'm using Superior to generate basically raw tracks and all the actual mixing is happening in my DAW.

As far as reference mixes and vibes - couple Satriani and Timmons albums and Nick Johnston's "Remarkably Human," but way back in the day Kurt Cobain was the reason I first picked up the guitar and there are some writing influences here and there thoughout the album so I'd been going for more of a "grunge" sort of vibe on the mix. Lots of room mic on the drums, etc etc etc.

Problems - my room is only partially treated, and is still a work in progress. Bass translation seems... broadly ok? But, I've had a hell of a time with stereo field and "depth" in particular, and have a hard time assessing ambience in this room. As a stopgap I've finally just started stacking up couch cushions behind my listening position (my daughter has these Nugget cushion things that are actually oddly good at this) when I get some time alone to really work, but it's faaaar from perfect. I've also done some tweaking to this mix since the last time I was able to do that, so it's possible I've created some fresh surprises for myself. That's the big one, I think... but beyond that, anything you hear that seems like it's working or isn't working, I'd love anything you have to say. It's been more than a decade since I've really sat down and done some proper tracking/mixing like this, and I'm realizing I'm pretty rusty.

Anyway, thank you in advance for taking the time to listen to this! It covers a fairly wide range, sort of a bluesy opening before going in a couple different directions, but because of that I think it covers enough ground that if this mix is working, then the rest should work pretty well, too.

This is purely a passion project, and the market for original instrumental rock music by guys not named Joe Satriani and Steve Vai is like twenty people, plus of course my mom who's a saint and will listen to anything I do (but wish I made more nice acoustic music). All the same, I want to make this sound as good as I possibly can, even if mostly it's just a creative outlet for me.

In their later albums, it kinda sounds like they add a ton of reverb and delay, but it doesn't seem like audio quality is degraded too much.

https://www.youtube.com/watch?v=Sm7d50z-sjs

https://www.youtube.com/watch?v=RwksHC98Cqc&list=RDRwksHC98Cqc&start_radio=1

Whenever I try something similar, it just completely messes up the mix. I don't have a good ear for this kinda stuff, so maybe I'm completely wrong about all this lol

Hello again,

I recorded this cover of Father Figure and would like some feedback on the mix. The entire instrumental was made with free/cheap plug-ins on FL studios, so I understand the sound selection may not be highest quality.

That being said, I'm mostly looking for pointers regarding the balance and levels of the arraignment. Any and all feedback is appreciated. Thanks!

https://drive.google.com/file/d/1uDI2jB4ky3dmaDlJTnD65fcPQ7x9IxQ1/view?usp=drivesdk

 How to widen your leads

Hi fellow producers!

just wanted to share with you some tips i wish i learned before.

The stereo field is a very important dimension to be taken into account and knowing this is really valuable. I used free plugins so i think anyone can start doing this and get more space in those mixdowns!

happy mixing fam!

much love, Koala McGiver

Hi! I have used Ozone 7 for many years now for countless projects. I love how easy it is and I know the plugin in and out. Is it worth upgrading really? The only reason for upgrading for me would be that the newer versions "sound better". I dont want anything fancy.

I have heard people going back to earlier versions of Ozone because they complain about the quality of the newer ones. The upgrade to Ozone 12 is like 350$ so it is a bit of money. Is there any other versions you might recommend someone like me?

I’m getting really exhausted by the discourse and technicalities related to mixing. I’ve been mixing my own music for 6-7 years now and just find it is totally gatekept and impossible to find confidence in. No other thing I have undertaken has been as difficult as mixing, and with so much poor information out there I’m losing my mind.

I’m an artist writing my own music and wanting to mix it, but when I get feedback everyone just tries to help my situation as if I’m an idiot. As if I have failed. I feel confident in my mixes in my headphones (my only “confident” monitoring system) and even when I listen back to the tracks on other speakers etc, it’s never doing the thing I want it to do. They don’t even sound good coming out - hollow, transients are dull. Sennheiser HD 6XX. And we all know how delicate a mix can be, so it’s entirely too frustrating. Aint no way I am understanding the true reflection of my compression settings, it’s all such guesswork.

Genuinely, affirmatively, is mixing not for me? I feel excited by my music and my mix when I’m doing it, but feel like so much of the juice isnt squeezed. But how the hell am I supposed to pay someone $500 per mix. I’ll be spending tens of thousands of dollars on mixes if I release consistently, over the years. Money i could save on monitoring… but then I’m back to square one of the elusive sonic translation thst is audio. It’s a fucking nightmare. Way worst than colour grading for film, audio is some kind of cursed medium.

Genuinely wtf do I do?

Current systems are HS8s + Sennheiser HD6xx.

Even reading about Audeze headphones, people finding them to be poor without EQ etc etc. like genuinely how the fuck does anyone get good at this.

Upgrading my system soon and planning on NOT installing everything I own.

Partially OCD, partially just for a cleaner workflow.

Not installing every Waves, Slate, etc. Only the things I know I like.

I’ve even caught myself almost buying plugins I discover I already own but forgot about.

Anyone else??

Hello r/mixingmastering.

This track is the most tracks I have ever mixed in a song, about 55 tracks. I wanted to know

How did I handle the loudness of this EDM Track mix-wise? Is it too loud or does it sound over compressed?

How well does the vocal sit in the mix?

How well did I manage space in the mix?

And what are some other tips for improvement?

Mix excerpt here: https://v

I have now been mixing for 5ish years, so I am getting some confidence and enjoying my mixes a lot more. I am making my music so have improved my arrangement a lot knowing that my mix requires it.

That 100-300hz is stumping me though. For example, I currently have a mix with a bass pluck (50-100hz for the fundamental frequency, and then up to 400hz for the overtones - 150hz + has been widened using the 'wider' vst). I then have another pluck (in mono-ish) living in the 100-300 hz, that is my guitar pluck "the main instrument".

When my guitar hits, I am currently sidechaining the second fundamental of my bass (which is slightly wider) so that they live like friendly neighbours.

However, I am getting slightly confused as to if my moves are correct - i know, i am trying my best to use my ears here!

First, the second overtone of my bass isnt as loud as my fundamental, so its mostly supportive tones to the midrange "weight" of the mix - therefore the guitar pluck and second overtone kinda combine for timbre. Second, the overtones have been widened, and my guitar pluck is mono-ish (tiny bit of stereo imaging), so is sidechaining just kinda not really that useful since i have created some level of separation with the widening? If my guitar is mono, and my bass overtones are wide, is sidechaining kinda a non-move? Am I fixing a problem that doesnt exist?

I am just super aware of this 100-300hz zone having to have some sense of clarity but also basically being the foundation to a good translating mix, so I am now slightly paranoid about having clashing, etcetc.

I am currently only sidechaining around 3db-ish for the guitar pluck to cut through a bit better in those frequencies. Is that generally all that is needed?

Would love any and all feedback!

I am making music similar to Oneohtrix Point Never, Arca, etc etc. Experimental electronic.

This is my first solo project and first project overall. i produced, mixed and mastered this myself so any advice/feedback and criticism will be greatly appreciated! <3
Headphones sound great but this got muddy on old car speakers.
I've since high-passed the reverb returns and cut the pad bus
around 300–500Hz.

I didn’t have a reference track or anything i just went with what was in my mind and this is my first time actually completing a track! Really excited about it :3
https://voca.ro/1jq7sxGSHJhu

Question in the title. My room is around 12’x11’ and it’s not treated right now. The genre of music I produce is house and I’ve had my monitors for about 1-2 years but the low end just doesn’t do it for me, especially since it’s such an important piece to the genre. I was going to pair my monitors with the hs8s but that seems a little expensive.

I dial in my mix and mastering visually but low end can sound different in many ways on speakers that produce frequencies below 80-100 hz so I just want to be able to listen to it without going into my car.

Edit: Maybe I shouldn’t have posted this in a mixing sub but I’m trying to achieve the same sound I hear in my wrangler that has an alpine system with a 10’ inch sub. It doesn’t necessarily have to be perfect, I just kind of want the full experience when I’m producing (not when I’m ironing out the finer details when mixing).

Hey everyone!

I’m currently mixing a track and running into a bit of a puzzle with the stereo image. I'm curious to hear how you all personally tackle this kind of situation.

Here is what I'm working with:

• 1 Male Lead vocal
• 2 Male backing tracks (1 High support, 1 Low support)
• 2 Female backing tracks (1 High support, 1 Low support)

My brain wants to symmetrically pan things, but the track list is giving me a puzzle. If I just stick all the guys on the left and the girls on the right, I’m pretty sure the mix is going to tip over. I want to make sure the stereo field stays nicely balanced without one side sounding heavier or tonally lopsided.

How would you map out the panning for a layout like this? Do you have a go-to blueprint or any favorite tricks (EQ, widening, etc.) to get these different backing vocals to glue together beautifully behind the lead?

Would love to hear your approach. Thanks in advance for the help!

I've been trying to improve my workflow and I'm curious how other people organize their sessions.

When you start a new song, do you already have a template with plugins loaded on your tracks (EQs, compressors, saturation, reverbs, delays, buses, routing, etc.) with basic settings, so you can immediately focus on writing and mixing?

Or do you prefer starting with a completely empty project and rebuild your processing chain every single time?

I'm not talking about using the exact same settings for every mix. I know every song is different. I'm more interested in how you organize your workspace to save time while still making decisions based on the song.

For example: Do you have default plugin chains for vocals, guitars, drums, bass, and synths? Do you keep buses and effects already routed? Do you use presets as a starting point, or literally build everything from scratch? How much processing is already there before you even write the first note?

I've reached a point where I am ready to spend money on some plugins. That is if I can justify the price.

I've grown very comfortable with Reaper's stock plugins and am wondering if I'm missing anything in my goal to keep it as DIY and low cost as possible.

I have purchased Amplitube 5 for my guitars and bass, Voxengo SPAN plus for its ability to see how busses interact.

I like the idea of a compressor if it can add character or a master bus suite that can make my adjustments more transparent.

But are paid compressors, EQs, and limiters unable to be replicated with stock plugins?

Is their benefit their UI?

Do they simply make for quicker work flows?

I find that if your mix is good, you don't really have to mess with these functions and can leave both the transient and sustain at 0% on your limiter. However, I'm curious as to what the use case would be for increasing the percentage on either or both of these. For instance, setting an Ozone Maximizer to 5% transient and 5% sustain. I've messed around with this and it makes my mix sound thicker and wider, but the center information (bass and kick) is less defined.

Also, I noticed that leaving these unlinked leads to a wider, more open mix, while linking them leads to a narrower mix, but with a stronger foundation (more impact in the center of the mix).

Any feedback is appreciated!

I maybe pushed it a little hard and its crunchy now but I hear thats kind of ok these days. Its hard to mix my vocals because I have a low voice and its hard to add brightness to things without the vocals getting swallowed. Im concerned about the high hats sounding too "hashy". I wonder if the vocal harmonies sit well. I tried to keep the low end as contained as I could. Let me know what's up. Anything at all. I'd really appreciate it.

So expectation is one of the songs I’ve been trying to understand the vocal chain, the delay on the vocals is just magical and I’m just trying to understand how i can make my vocals sound hypnotic like that. Any help in the right direction will be appreciated. I would love to hear what you guys have to say around the 2 minute mark. I would love to understand the vocal chain

https://open.spotify.com/track/1FnHpM2zimTALdIvuxFoNM?si=tIpL-UlDTIKgm_Bv7_uPeA&utm_source=copy-link

In most of or tracks we're in a constant battle to EQ out the resonant frequencies in each take. This is fairly easily done with Pro-Q3's spectrum grab. However, this often gets rid of the "Warmth" in the track. Sure the room stop shaking but everything sounds so thin.

Is this a mixing problem that I'm overlooking or is it a tone/recording problem?

FYI most issues are coming from Guitars and Basses.

I'm really interested in this producer's use of reverb. It sounds really spacious and big but also still centered and controlled instead of sounding far away and/or out of control. I think I hear multiple kinds of reverb being used but I'm not sure which ones so I was hoping to get some opinions on what other people are hearing here as far as use of reverb and stereo width. I think I hear the stereo width being automated on some sounds to quickly move from wide to narrow.

What do you guys think? One type of reverb or multiple? Is it controlled by a gate or done with leveling? Automated stereo width? What's your take on this mix?

https://youtu.be/6kylqf9s5n4?si=rbGMZfkSL-HBWga1

Ive been listening to "Ivy" by Frank Ocean, and ive been wondering how to recreate this effect as close as possible- whenever he goes into higher register with his voice on the track, theres what sounds like either a very short slapback delay or haas effect delay that feeds into a subtle plate reverb or something similar.

Ive tried to replicate it for hours at this point but i cant get it right. I mostly tried fiddling with all kinds of settings on Valhalla Delay and then feeding that into a plate reverb, as well as some Eventide H3000 configuration but even without the reverb i cant get the timing quite right

any ideas? maybe someone knows jeff ellis and can ask? 

No but honestly, id be very happy if someone with more experience with effects like this could help me out here

https://www.image2url.com/r2/default...9fe1fa4512.mp3

it starts around 30 sec in

As the title says, I'd like to know what compressors you would buy, given only $5000, assuming you would have nothing else.

What would be your reasoning for choosing these compressors, and do you own or work with them frequently in real life, or have worked with them at some point in real life?

Pretend plugins dont exist for the sake of this argument please.