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Steven Slate has been dropping knowledge on Twitter for a long time, so I thought I’d round up all his mixing tips and put them on one page for you to read.

Thank him by ReTweeting or checking out some of Slate Digital’s awesome plugins.

 

Split ur Lead Vox into 3 Copies: 1 Natural, 1 Bright and Compressed, 1 Grainy..automate the 3 throughout the mix to make it POP #protips

— Steven Slate (@Slateproaudio) April 24, 2012

 

Chris Lord Alge: I always do an automation pass w my drum faders to keep them dynamic in the mix #protips

— Steven Slate (@Slateproaudio) April 25, 2012

 

The best mastering engineers know when to tweak a mix, & when to leave it alone. Listen before you dive in with the EQ or Comp #protips

— Steven Slate (@Slateproaudio) April 25, 2012

 

Compressing your reverb returns a bit can thicken them up in a cool way, try it #protips

— Steven Slate (@Slateproaudio) April 25, 2012

 

Following your delay with a small reverb at 40% wet can mellow it out, and create even more depth #protips

— Steven Slate (@Slateproaudio) April 26, 2012

 

Digital Peak Limiters are effective for transparently taming overly dynamic acoustic guitars. Try it #protips

— Steven Slate (@Slateproaudio) April 29, 2012

 

Want a brighter snare? EQ some top into the overheads.. you’ll get there quicker than just eqing the close mic alone #protips

— Steven Slate (@Slateproaudio) May 2, 2012

 

Dull Vocal Recording? Gently pull out the mud frequencies, compress hard, then add some upper mid eq 4 clarity & air, then De-Ess #protip

— Steven Slate (@Slateproaudio) May 4, 2012

 

Don’t be afraid to extend the bandwidth of the eq to it’s maximum width.. wider smaller boosts tend to sound more musical #protips

— Steven Slate (@Slateproaudio) April 28, 2012

 

Carving off some top and bottom of background vox helps them blend in with the lead vox without sounding too defined. Try it #protips

— Steven Slate (@Slateproaudio) May 9, 2012

 

Wide Bass? Copy Bass to stereo track, hi pass till about 300Hz, distort a bit, send to wide chorus, mix in SUBTLY with dry Bass #protip

— Steven Slate (@Slateproaudio) May 17, 2012

 

I’ll say it again. Don’t eq your close mic drums until you’ve checked their phase coherency with the overhead mics #protip

— Steven Slate (@Slateproaudio) May 23, 2012

 

Before you touch the eq or compressor knob, make sure ur brain knows what you intend to do with it, & how it may enhance the mix #protip

— Steven Slate (@Slateproaudio) May 25, 2012

 

Mellow out ur vocal delays: attenuate using a hi shelf eq at 8k by about 3db, then follow it into a medium room verb at 20% wet #protip

— Steven Slate (@Slateproaudio) May 27, 2012

 

I always recommend eqing drum overheads and room mics WITHOUT soloing them since they really impact the entire drum sound #protip

— Steven Slate (@Slateproaudio) May 29, 2012

 

Airy Pop Vox: Hi Pass till 100Hz, boost 12khz 5db, then compress hard @12db, then soak up the sibilance with a strong de-esser #protip

— Steven Slate (@Slateproaudio) June 15, 2012

 

People like a dynamic song.. automate the master fader a db or so to enhance sections, especially the hooks! #protip

— Steven Slate (@Slateproaudio) May 31, 2012

 

Over-sibilant vocals make music very harsh when played loud. De-essing properly ensures clarity without being ear piercing! #protip

— Steven Slate (@Slateproaudio) June 18, 2012

 

Simple kick drum and bass guitar balancing act: cut a small notch of 80Hz in bass, boost a little 80Hz in kick. It WORKS #protip

— Steven Slate (@Slateproaudio) June 25, 2012

 

I almost always automate my master fader up 1.5db on the chorus of the song to help it really pop out #protip

— Steven Slate (@Slateproaudio) July 3, 2012

 

Rock Kick Trick: Copy kick, filter out deep lows and highs, crank wide bell at 2khz, compress 10db, mix in subtly!

— Steven Slate (@Slateproaudio) July 21, 2012

 

Rock Snare Attitude: load a ringy snare sample, compress and distort mildly, send to stereo verb, add lows, mix it in subtly to the kit!

— Steven Slate (@Slateproaudio) July 21, 2012

 

Vintage Vox: Attenuate top w/ 12k shelf, boost mids @ 3.5k, mix in parallel distorted vox subtly, use long predelay’d compressed verb

— Steven Slate (@Slateproaudio) July 24, 2012

 

Ultimate AIRY Vox w/o being harsh: Copy vox, crank 10khz shelf, then follow with heavy de-essing, heavy compression, mix in to get AIR!

— Steven Slate (@Slateproaudio) July 23, 2012

 

Vox Delay Tip: If you time out your delay to the tempo of the song, it can add depth without being audible. Start with a quarter note!

— Steven Slate (@Slateproaudio) July 26, 2012

 

Dry Vox with “life”: Use a stereo pitch shifter, left side 9cents down 20ms, right side 9cents up 40ms, mix in very subtly!

— Steven Slate (@Slateproaudio) July 25, 2012

 

No matter how much eq or compression you put on your snare.. if it’s not in phase with the overheads, it won’t get punchy!

— Steven Slate (@Slateproaudio) August 22, 2012

 

Vocal not POPPING out of the mix? Copy it, compress it hard, add some distortion, add some upper mids, mix in SUBTLY with original vox!

— Steven Slate (@Slateproaudio) August 27, 2012

 

Fat Chorus Guitars: Send guitars to buss. Put compressor on it. During chorus, automate up 2db so that compressor kicks in & fattens em!

— Steven Slate (@Slateproaudio) August 31, 2012

 

Explosive Poppy Snare: Copy snare, compress heavy with fast attack and release to bring up sustain, gate the tail off, mix in subtly

— Steven Slate (@Slateproaudio) October 22, 2012

 

Thick Vox: Use stereo pitch shifter 10ms delay and 10 cents up and down on each side, filter off top end, mix in subtly!

— Steven Slate (@Slateproaudio) November 9, 2012

 

Bigger Chorus Vox: Copy vocal and compress and distort.. mix it in SUBTLY as the hook of the song comes in!

— Steven Slate (@Slateproaudio) December 13, 2012

 

EZ Parallel Vox Compression: Copy vox, compress one heavy, and during mix, automate the dry vs compressed faders so vox breathes!

— Steven Slate (@Slateproaudio) March 11, 2013

 

The Big THUMP Snare? Medium tuned Snare w/ big hitter..during mix copy it and crank Lo Shelf at 100Hz 10db! Now compress 5db & mix in!

— Steven Slate (@Slateproaudio) March 5, 2013

 

Make your vox pop out of the mix: Copy vox, push wide 4khz bell, compress extremely hard w/ fast release, mix in subtly for extra POP!

— Steven Slate (@Slateproaudio) April 24, 2013

 

Drums need punch & sustain to be BIG in a mix. For punch, little bits of slow attack and medium release compression & upper mid EQ…

— Steven Slate (@Slateproaudio) June 3, 2013

 

Use a compressor with your ears, not your eyes. I’ll pin the meters on my DRAGON on vox to make them really slam through the mix.

— Steven Slate (@Slateproaudio) June 12, 2013

 

Super Bright Airy but not harsh POP VOCAL? Crank 10khz hi shelf, follow into compressor with high gain reduction, into heavy de-esser!

— Steven Slate (@Slateproaudio) June 20, 2013

 

Dynamic & Deep VOX: Try a subtle 1/4 note delay on verse & then bring in a 1/2 note delay w/ feedback on hook. Mellow the delay w/ EQ!

— Steven Slate (@Slateproaudio) June 6, 2013

 

The faster the song, the less sub lows you’ll want on the kick. Speed Metal? I’ll hi pass up to 80Hz if needed.

— Steven Slate (@Slateproaudio) April 23, 2012

 

Sizzly Snare Verb: Copy bottom snare trk, filter out lows to 600Hz, crank high shelf at 10Khz, send to nice verb. Nice on ballads.

— Steven Slate (@Slateproaudio) April 19, 2012

 

Putting a rolled up tape at the VERY edge of the snare drum can dampen the ring slightly without choking the hell out of it.

— Steven Slate (@Slateproaudio) April 19, 2012

 

If you close your eyes & listen to the mix your brain forces your sense of hearing to heighten. Try it every once and a while.

— Steven Slate (@Slateproaudio) April 17, 2012

 

Sometimes it’s not about adding more eq or compression or trickery.. it’s just getting the right instrument balance #simple&effective

— Steven Slate (@Slateproaudio) March 28, 2012

 

Nothing wakes up a kick drum better than making sure its in phase with the overhead mics #there‘smylowend

— Steven Slate (@Slateproaudio) March 7, 2012