Do note that this digest is only meant to guide you through the 147 articles written by Nantho over the last three years, summing things up in chapters. Obviously, every chapter is made up of several articles, all of which are included in the dropdown list at the upper right corner of this page.
Also note that many articles have been complemented by comments in the forums which enrich the discussion on the topic. It would be a pity for you to neglect them.
So, here are the different parts of this series.
A five-article introduction that goes from the definition of mixing itself to the tools required and the technical and logistic pre-requisites, before really diving into the heart of the matter.
You won't get too far if you don't know where you want to go. Nantho gives you some ideas to start your trip with a goal in mind.
Before messing with the faders, EQs and compressors, you first need harmonize the levels of your tracks.
Brief methodological overview of the different mixing stages detailed in this guide.
This is where it all starts, quickly adjusting the levels and pans to get a first overview that will serve as the basis for the rest of your work.
This is where things start getting serious: the moment when you realize that every element of the song requires its own space within the audio spectrum.
A question that has been posed millions of times when sitting in front of a mixing desk.
Working with dynamics requires different tools, all of which are discussed in the 28 articles that make up this chapter From the plain compressors to multiband compressors, noise gates, transient processors, limiters...
Things start to take shape after EQ and compression – the perfect time to review the situation before moving forward.
Mixing a song is recreating a sonic picture in all its dimensions, which entails much more than using only the faders and pans and usually requires the use of reverb. Here you have 31 articles on the topic.
Another great tool used for sound spatiality, the delay can complement or even replace a reverb in many cases, as you will discover in these six articles.
Even after having used spatial or dynamic correction tools, and after having placed the different elements in the sound field, you still have lots of things to do to glue together all the instruments to form a uniform sound canvas. And to do that, the best thing you can do is take the bus…
Modulation tools are bar none when it comes to introducing movement or broaden sounds. These three articles explore their use during mixdown.
Besides being a coherent and homogeneous whole, a mix must make the song dynamic and never stop surprising the listener. That's what automation is for…
Past the automation, the time has come to make a new assessment of your mix and to ask yourself some questions regarding the goal you set out to achieve and the result you got. A sort of rereading…
Your work won't be over until you get a stereo file that can be played back like any other song in your music collection. A brief reminder of how to achieve that.
The author gives some advice on choosing, testing and getting to know your working tools, starting form the basic idea that a good worker will perform best with the tools he knows best.
A bunch of suggestions to learn o mix, but also some reflections on serendipity in your daily practice and, obviously, the conclusion of the series.
View other articles in this series...
1. Mixing with Myself…or Not!
2. The Prerequisites for a Relaxed Mixing Session
3. Go Safely and Back Up
4. Putting Together the Puzzle
5. Time Is on Your Side
6. Start Small, Think Big
7. It's Your Gain!
8. Critical Listening
9. A Method to Your Mixing
10. Create a Rough Mix
11. Left, Right and Center
12. On the Level
13. The EQing Primer
14. Trim it Down
15. Cleaning Up the Low End
16. Into the Gray Zone
17. If it Ain't Broke, Don't Fix it
18. Lifting the Mask
19. And There Was Color
20. Create Space and Depth with EQ
21. Trust Your Ears
22. A Matter of Perspective
23. EQing Tools of the Trade
24. Which Comes First?
25. Dynamics Processing 101
26. Why We Compress
27. Understanding Compressor Parameters
28. Attack and Release in a Compressor
29. Ratio and Threshold in a Compressor
30. Add Consistency with Compression
31. The Right Way to Loudness
32. Make Your Mix Punchy with Compression
33. The Opposite of Punchy
34. Serial Compression
35. Parallel Compression
36. Sidechain Compression
37. Compression as Glue
38. A First Look at Multiband Compression
39. Dialing in a Multiband Compressor
40. A Who's Who of Software Compressors
41. Transient Processors
42. Noise Gate 101
43. Setting the Gate
44. Don't Let it Bleed
45. Use a Gate to Kill the Spill
46. Getting Creative with a Noise Gate
47. Improve Your Drum Tracks With a Noise Gate
48. Enhancing Percussive Elements with a Noise Gate
49. Ducking with a Noise Gate
50. The Best Noise Gate Plug-Ins
51. Expanders, De-essers, Limiters and Dynamic EQs
52. How to Make Good Use of Presets
53. Take a Break
54. Space Invaders - The Whys of Using Reverb
55. Using Reverb - Step by Step
56. Reverb Don'ts
57. Reverb In or Aux?
58. Reverb: Pre- or Post-Fader?
59. Mixing with Spring Reverb
60. Mixing with Plate and Hall Reverb
61. Mixing with Chamber and Ambience Reverb
62. Mixing with Room Reverb
63. It's Just a Matter of Feeling
64. How to Use the Pink Noise Trick
65. A Handy Rule for Choosing Reverb Presets
66. How to Use Pre-Delay
67. It's Reverb Time
68. Early Reflections
69. Reverb and EQ
70. Reverb Damping
71. Sculpting Reverb with EQ
72. Gated Reverb
73. Reverb Meets Compression
74. More About Compressing Reverb
75. Of Width and Depth
76. The Importance of Contrast in a Mix
77. Getting Down to Work with Reverb
78. Choosing Reverb Sounds
79. Glue It Down with Reverb
80. How to Adjust Depth with Reverb
81. Unreal Soundscapes
82. Responsive Reverb
83. Lateral Movement with Reverb
84. Reverb Tools of the Trade
85. The Use of Delay
86. Slapback and Doubling with Delay
87. Using Delay Instead of Reverb
88. Using Delay to Broaden Your Horizons
89. Fill It Up with Delay
90. The Relationship Between Reverb and Delay
91. Using Buses to Make a Mix More Cohesive
92. Using Distortion During Mixdown
93. Getting acquainted with harmonic distortion
94. How to use harmonic distortion in a mix
95. The whys of using tape machine and console emulators
96. How to use tape machine and mixing console emulators
97. Tools to give cohesion to your mix
98. Modulation Effects - The Chorus Effect
99. Modulation Effects - The Flanger Effect
100. Modulation Effects - The Phaser Effect
101. A guide to mixing music - Part 102
102. Introduction to automation
103. Functional automation
104. Alternatives to functional automation
105. Artistic automation
106. Artistic automation or what you can learn from movies
107. A guide to mixing music - Part 108
108. How to automate your mix
109. Automating the star of your mix
110. Automation - A case study
111. Automation - A case study, looking into the details
112. Instinct and automation
113. Automation - Tips and Tricks
114. Highlighting background instruments
115. Handling intro-verse-chorus transitions with automation
116. The traps of automation - Part 1
117. The traps of automation - Glitches and clicks
118. Last advice on automation - Part 1
119. Last advice on automation - Part 2
120. The hour of truth for your mix
121. Things to consider during critical listening
122. Critical listening in a home studio
123. Comparative A/B listening
124. Tools to make critical listening easier
125. First retouches
126. Critical listening outside your studio
127. A new look at your mix
128. Making the best of other's opinions of your mix
129. Blind testing
130. How to tell when a mix is done?
131. The final export of your mix
132. Alternative mixes - Part 1
133. Alternative mixes - Part 2
134. Setting limits
135. Choosing your working tools
136. Testing a plug-in
137. Essential tools for your mix
138. Getting to know your mixing tools
139. Learning to mix – Part 1
140. Learning to mix – Part 2
141. Learning to mix – Part 3
142. Increasing your productivity
143. Real-life mixing
145. Give it a twist
146. A final word
147. Summary of the main chapters
148. MIXING IN A HOME STUDIO - ultimate guide (150 episodes)