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
2. Mixing with Myself…or Not!
3. The Prerequisites for a Relaxed Mixing Session
4. Go Safely and Back Up
5. Putting Together the Puzzle
6. Time Is on Your Side
7. Start Small, Think Big
8. It's Your Gain!
9. Critical Listening
10. A Method to Your Mixing
11. Create a Rough Mix
12. Left, Right and Center
13. On the Level
14. The EQing Primer
15. Trim it Down
16. Cleaning Up the Low End
17. Into the Gray Zone
18. If it Ain't Broke, Don't Fix it
19. Lifting the Mask
20. And There Was Color
21. Create Space and Depth with EQ
22. Trust Your Ears
23. A Matter of Perspective
24. EQing Tools of the Trade
25. Which Comes First?
26. Dynamics Processing 101
27. Why We Compress
28. Understanding Compressor Parameters
29. Attack and Release in a Compressor
30. Ratio and Threshold in a Compressor
31. Add Consistency with Compression
32. The Right Way to Loudness
33. Make Your Mix Punchy with Compression
34. The Opposite of Punchy
35. Serial Compression
36. Parallel Compression
37. Sidechain Compression
38. Compression as Glue
39. A First Look at Multiband Compression
40. Dialing in a Multiband Compressor
41. A Who's Who of Software Compressors
42. Transient Processors
43. Noise Gate 101
44. Setting the Gate
45. Don't Let it Bleed
46. Use a Gate to Kill the Spill
47. Getting Creative with a Noise Gate
48. Improve Your Drum Tracks With a Noise Gate
49. Enhancing Percussive Elements with a Noise Gate
50. Ducking with a Noise Gate
51. The Best Noise Gate Plug-Ins
52. Expanders, De-essers, Limiters and Dynamic EQs
53. How to Make Good Use of Presets
54. Take a Break
55. Space Invaders - The Whys of Using Reverb
56. Using Reverb - Step by Step
57. Reverb Don'ts
58. Reverb In or Aux?
59. Reverb: Pre- or Post-Fader?
60. Mixing with Spring Reverb
61. Mixing with Plate and Hall Reverb
62. Mixing with Chamber and Ambience Reverb
63. Mixing with Room Reverb
64. It's Just a Matter of Feeling
65. How to Use the Pink Noise Trick
66. A Handy Rule for Choosing Reverb Presets
67. How to Use Pre-Delay
68. It's Reverb Time
69. Early Reflections
70. Reverb and EQ
71. Reverb Damping
72. Sculpting Reverb with EQ
73. Gated Reverb
74. Reverb Meets Compression
75. More About Compressing Reverb
76. Of Width and Depth
77. The Importance of Contrast in a Mix
78. Getting Down to Work with Reverb
79. Choosing Reverb Sounds
80. Glue It Down with Reverb
81. How to Adjust Depth with Reverb
82. Unreal Soundscapes
83. Responsive Reverb
84. Lateral Movement with Reverb
85. Reverb Tools of the Trade
86. The Use of Delay
87. Slapback and Doubling with Delay
88. Using Delay Instead of Reverb
89. Using Delay to Broaden Your Horizons
90. Fill It Up with Delay
91. The Relationship Between Reverb and Delay
92. Using Buses to Make a Mix More Cohesive
93. Using Distortion During Mixdown
94. Getting acquainted with harmonic distortion
95. How to use harmonic distortion in a mix
96. The whys of using tape machine and console emulators
97. How to use tape machine and mixing console emulators
98. Tools to give cohesion to your mix
99. Modulation Effects - The Chorus Effect
100. Modulation Effects - The Flanger Effect
101. Modulation Effects - The Phaser Effect
102. Questions to ask yourself before moving on
103. Introduction to automation
104. Functional automation
105. Alternatives to functional automation
106. Artistic automation
107. Artistic automation or what you can learn from movies
108. The levers for artistic automation
109. How to automate your mix
110. Automating the star of your mix
111. Automation - A case study
112. Automation - A case study, looking into the details
113. Instinct and automation
114. Automation - Tips and Tricks
115. Highlighting background instruments
116. Handling intro-verse-chorus transitions with automation
117. The traps of automation - Part 1
118. The traps of automation - Glitches and clicks
119. Last advice on automation - Part 1
120. Last advice on automation - Part 2
121. The hour of truth for your mix
122. Things to consider during critical listening
123. Critical listening in a home studio
124. Comparative A/B listening
125. Tools to make critical listening easier
126. First retouches
127. Critical listening outside your studio
128. A new look at your mix
129. Making the best of other's opinions of your mix
130. Blind testing
131. How to tell when a mix is done?
132. The final export of your mix
133. Alternative mixes - Part 1
134. Alternative mixes - Part 2
135. Setting limits
136. Choosing your working tools
137. Testing a plug-in
138. Essential tools for your mix
139. Getting to know your mixing tools
140. Learning to mix – Part 1
141. Learning to mix – Part 2
142. Learning to mix – Part 3
143. Increasing your productivity
144. Real-life mixing
146. Give it a twist
147. A final word
148. Summary of the main chapters