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5 Tips to Quickly Improve Your EDM Mix

➥ Watch Matthew mix an EDM record from start to finish

There are no shortcuts when it comes to getting a good EDM mix outside of getting the sounds “perfect” during the production phase. But there are a few techniques a lot of folks overlook that can almost immediately boost the overall quality of your mixes.

Let’s see if I can give you five tips that you can apply to your next record to see an overall noticeable improvement.

1. High-Pass While Referencing Key Elements

I think we’ve all heard advice about high-passing everything that isn’t the kick and the bass. Well, I’m hoping to expand on this, because aimlessly high-pass filtering can absolutely work against you.

The trick to getting a cutoff frequency right is to have your kick and bass playing while you do it, and to bring in your midrange elements in the order of which has the lowest fundamental tones.

For example, let’s say you have a kick, bass, a midrange-y saw lead, a wide piano line (2 hands, big chords), and a broad-range synth pad.

Pull up the kick and bass. While the kick and bass are playing, determine what has the next lowest fundamental part. Probably the piano because that left hand is going to hit some low notes.

Now, pull up a high-pass filter on the piano. Start pulling up the frequency of the high-pass filter until the piano starts to sound thin and then back it off. If you do this right, the piano won’t feel like it’s “missing” low end because the bass is providing that low end for you. If you switch the piano into solo, then you should go “oh, wow, that’s missing some low end.”

Once you have the piano worked out, bring in the next element (the saw lead in our hypothetical). Chances are you can bring up a high-pass filter pretty high on this element because you’ve got plenty of lows in the kick, bass and piano all working together.

And one other thing… a lot of synths won’t possess a ton of low end, or any at all. If the sound doesn’t have low end, there’s no need to high-pass it.

2. Don’t Forget Low Pass Filters

Just like how we use high pass filters to get things out of the way of the kick and the bass, the same idea applies to the other end of the spectrum. You don’t need a lot of stuff above about 10 kHz.

In our example above, chances are the saw lead has plenty of super treble sizzle. That broad range synth pad probably has a pretty bright top too.

Low passing background elements like pads can clarify the top end tremendously.

Counterintuitively, by low passing that pad in our example, we can actually make the whole record brighter because there’s less top-end congestion. We can get brighter records by removing top end!

The key to this is to decide exactly what needs that 10k+ energy, and what really doesn’t.

Check out the video at the bottom of the post for more on low-passing synths.

3. EQ Reverbs and Delays

Reverbs and delays are secret sonic space suckers.

A lot of the time we just throw a reverb or delay on an element and keep moving. But by the time we’ve finished our mix we have tons of reverb and delay content going on, and all of that stuff is creating clutter.

Some bold EQ moves can really open up the record.

My advice for getting this right is to take all your reverbs and turn them way up. Then grab an EQ and attenuate whatever tones are clouding the mix the most. Turn the reverbs back down and now bypass and un-bypass those EQs. If you did it right you should notice the mix open up and spark to life with a regained sense of clarity. Now, mute and un-mute your reverb returns. Even with the EQ’ing, you should still feel the effect of those reverbs bringing a sense of space and color to your mix.

Any time you add a reverb or delay, you are effectively adding a new element to your mix, and that element may very well need EQ just like anything else. Also, be decisive with the timing of your reverbs and delays. Adjust the decay time/feedback with clarity in mind.

Not everything needs a three second reverb, and not everything needs 50% feedback delay. Keep it long enough to provide the dimension and energy you want, but no longer than that!

On reverbs in particular, a little pre-delay can be good for keeping the source sound clear to the ear as well.

4. Doing Nothing is Still Doing Something

Of course, not everything needs EQ… or compression, or delay, or reverb.

A lot of synth design involves using simple wave shapes.

Simple wave shape oscillators tend not to demand much in the way of EQ. And, a lot of synth design involves the use of filters, so there’s already some EQ happening in the sound design. And sometimes things just sound right as-is.

Choosing not to affect something is often times a great choice, and it’s still a mix decision.

So if a sample fits perfectly, or a synth already sounds spot on to begin with — don’t futz with it!

5. Make Sure Your Kicks are in Phase

If you are layering kicks, absolutely make sure they are in phase. Meaning, make sure the kicks are working together constructively.

The easiest way to check this is to grab a utility plugin with a “polarity inversion” switch (that little circle with the line through it). Flip the polarity on one of your kicks. Does the overall kick sound become hollow and weak? Then your kicks were in phase. Does the overall kick suddenly become strong and full? Then your kicks are now in phase.

If you are a tweaker like me, get yourself a plugin like SoundRadix Auto-Align, or Waves InPhase. These tools can get multiple sources very precisely phase-aligned which can give you that extra inch of power when the kick knocks.


These are my five quick tips that should give you a little more clarity and a little more power in your mixes.

Feel free to write in the comments below with an questions or a quick tip of your own that noticeably improved the quality of your own mixing as soon as you learned it.

Take your EDM mixes and productions to the next level with Mixing EDM.

Includes 4+ hours of tips, techniques and approaches for mixing EDM, including drops, transitions, vocals, kicks, bass, synths and more — with three different songs as source material.

There’s also multitracks for you to practice with and a 40 minute mastering interview with the legendary Chris Athens.

➥ Here’s what two recent customers had to say

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Matthew Weiss

Matthew Weiss

Matthew Weiss is a Grammy nominated and Spellemann Award winning audio engineer from Philadelphia. Matthew has mixed songs for Snoop, Sonny Digital, Gorilla Zoe, Uri Caine, Dizzee Rascal, Arrested Development, 9th Wonder, !llmind & more. Get in touch:

Free Video on Mixing Low End

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  • ephrem goldstein

    5 tips to make you sound like everyone else. in case there isn’t enough shiite edm being pumped out by “artists” that are completely indistinguishable from each other. how about throw the fkn rule book out and start from scratch, give the world something it hasn’t heard before

    • Honestly, you come off pretty bitter in your comment. These are mixing tips that can be effectively applied to make the most out of a groundbreaking production out of left field or, a homogenized EDM beat. It’s about making any production the best possible presentation of itself.

    • J Crenshaw

      Honestly you come off as if you have no idea what you are talking about. None of these aspects make “music sound the same” they all relate to sonic clarity and are pretty standard rules of thumb for ALL music.

      Perhaps you need to learn more about music and production before you spout your own idiotic 2 .cents.

      You cant “throw the rule book out” because uh there are rules that apply to music in a sonic sense. Maybe when you learn this you can produce something worth a damn and stop talking down about “artists” that have clearly surpassed your skill some time ago.

      If you are just a listener, you really don’t have a damn clue what you are talking about in the first place anyways

    • Jordan Wragg

      LOL. really? One who thinks one “artist” is indistinguishable from another has a few crippling problems:
      1. Incorrect perceptions of how mainstream came to be, and how the artists who run it came up. This leads to a haphazard and more than likely unsuccessful end result.
      2. Incorrect habits of listening resulting in acute inability to perceive the differences, more than likely due to a “chip” on the shoulder toward anything mainstream, leading to a prideful disdain that would brush off true talent and hard work if it slapped him/her in the face.
      3. This is the same sort of arrogance that would fly in the face of critically needed help and criticism because he/she imagines his/herself so talented and misunderstood that no one could possibly critique them… thats the old Disney fairytale drug talking.
      4. The assumption that improving the mix with industry standard tools is what would cause one artist to actually have similarities to another. That’s all the producer’s and the artist’s decisions, not the mixer’s. Its the job of the mixer to realize the sound the producer and artist wanted, and polish it so that it hits their target audience smack-dab between the ears and blows their minds up – as originally fathomed when the seed of the craft hit the artist’s imagination before the first significant bit of MIDI rammed the interface.
      5. The final result is poor mixes, such that will either get laughed out of a listening room, and adopted by like-minded buffoons in basements with no discernible ability to recognize that there even is a minuteae.

      Caveat: I submit that I don’t always like mainstream, but I respect it… There’s a reason they make the money they do. You would do well to remember that, and read an article or two describing the artistic process in a Q&A or something with one of them… These are smart. talented, hard-working guys and gals, most of whom have earned their places… At the very least, you don’t have to like them, but show some respect, and you might earn your own perspective some too…

      Lastly: Better to be thought a fool than to open your mouth and remove all doubt… – (I have no idea who actually said that originally).

    • ephrem goldstein

      i wasn’t even talking about “mainstream” music. i had in mind the current EDM scene, wherein producers have been fetishizing clean, loud, polished mixes at the expense of artistic innovation. thanks for your long winded response tho

  • phil george

    awesome post, some of these tips I’ve never heard of before so a big thanks for sharing…

  • Aaron Zilch
  • This is great info that will help me with mixing my EDM tracks. I’m fairly new to EDM, so this will help a ton. Thanks.

  • DJ Shnugglefritz

    Help! I’ve been experimenting a lot with my own EDM mixes for almost ten years now, and even designed my own software synth in the process, but still can NOT seem to achieve that “pro” sounding dance floor sound. I even have a B.S.E.E. and a recording degree, but neither is much help here. Your article cover some great basics here, and no doubt isolating musical parts in both the time and frequency domain is critical, and I’ve tried this. But … when I hear a song that’s being played in a real club produced by a real pro EDM artist, there is something distinctly DIFFERENT about the sound, and it’s not just the big speaker system in the venue or simply a better song, or just isolating elements of the mix per your good advice here. Its almost as if they are using a completely different instrument. It’s something much more fundamental in how they are constructing the waveforms of the individual tracks. Even on a pair of cheap headphones these songs sound Amazing, and I can’t duplicate it. (and a journey through ten software synths including my own has not done the trick.) Its almost as if the real pro’s have a simple secret that they don’t want us to know. Are they using some expensive hardware synth I don’t know about? I can tell from your article that you would be the one to ask. Please write an article about this for some of us more advanced, but still amateur producers, who are ready for the next step. I would really love to read it. Something like “The secret of getting that dance floor hit sound”, um, well, something like that. Thanks! P.S. I’m not trolling for contacts here, i really just want to know. Thanks! (Everett)

    • The Heat Avinash

      I can understand your feelings bro .. I believe we are in the same boat 🙂

    • _ Klekto

      Sylenth1, massive, fm8, refx nexus, spire. These 5 synths are all u need, for hardware, Hardwell n headhunter use a lot of virus TI n that’s all

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