Make a clear decision about who wins the battle between the bass and the bass drum and who’s covering which frequency of the low end. Make sure that the bass and the kick drum are not fighting for the exact same spot. Leave room for the kick and bass to do their thing. Therefore it’s much easier to fill up your master bus with low frequencies than it is with high frequencies, so try and make as much room as possible for the kick and bass: take everything below 80 hertz out of all the other instruments: piano, keyboards, etc. In terms of electricity, the low end is where most of the energy goes. The mid range is what will mostly determine how loud your mix is. Most of the time all you need to push is the mid frequencies, which can be counter-intuitive, but that’s how it works. If you want to make a bass drum louder you don’t necessarily have to make the low end louder. Your ear is designed to hear them better than the rest mid frequencies are most prominent in human speech for instance.
The important information in a musical piece is in the mid frequencies. Learn more about compressing in stages and bus routing here. A powerful kick drum and a powerful snare drum will begin with little compression on each channel, a little compression on the drum bus, and a little compression on the bus channel. The same applies for all the other instruments you work with: try to record them well and as cleanly as possible.ĭon’t put all of the compression at the end, compress little by little each time. If you have to select a kick drum, select one that has more body and more weight right from the start, rather than selecting a weak sample and trying to improve it later on. Make sure that the sounds are well recorded and powerful in the first place.
Of course it also involves having a good quality recording to begin with, but for the purpose of this article we will focus mainly on explaining how you can achieve loudness with mixing.
Loudness is achieved with every step of the mixdown process. To start things off, don’t expect to slam a limiter on the bus, crank down on it, and get your mix as loud and powerful as any other commercial release! It doesn’t work like that.
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