Production Tips

15 mixing tips for making great sounding songs

Music Production, Production Tips

Mixing is something of a dark art with many of the best mixing engineers and producers keeping their secrets under lock and key. It’s not surprising really as who would willingly give away their acquired knowledge, built through years of trial and error. In recent times the secrets of mixing have been getting revealed to us mortals much more through relatively new channels like YouTube, Online courses (with some legendary mix engineers I might add) and the internet in general (blogs etc.). I remember when I first started producing, yes a long time ago now, resources were few and far between and they usually cost quite a bit to get your hands on, hence why back in the day I and probably most other young producers botched our way through the whole mixing process.

In a nutshell mixing is the process of making the track you have written sound good. This can be done through the use of tools such as volume control, panning and things like reverb, delay and any number of effects that are now available. Mixing in my opinion is an art and if you look at a lot of the hit records out there, they are often mixed by names that pop up over and over again. Many of these mix engineers are stars in their own right now. I’m talking about people like Dave Pensado, Greg Wells, Manny Marroquin and they even have their own plugins in some cases. I myself love the Manny Marroquin range available by Waves, check them out! 

I’ll delve more into actual mixing engineers and their tricks in a future blog, but today I wanted to highlight a general checklist of steps you should consider when mixing any music you make. It’s taken from the Mixing Engineer’s Handbook, which is a super resource by Bobby Owsinski, I would suggest getting your hands on a copy.


  1. Does your mix have dynamic contrast? Does it build as the song goes along? Are different instruments, sounds, or lines added or muted in different sections? 
  1. Does your mix have a focal point? Is the mix centered around the instrument or vocal that’s the most important? 
  1. Does your mix sound noisy? Have you eliminated any count-offs, guitar amp noises, bad edits, and breaths that stand out? Each one may not seem like much, but their effect is cumulative. 
  1. Does your mix lack clarity or punch? Can you distinguish every instrument? Does the rhythm section sound great by itself? Is the balance between bass, kick, and snare correct? 
  1. Does your mix sound distant? Try decreasing the level of the reverb and effects, starting with the wettest and then working your way to the least wet. 
  1. Can your hear every lyric? Every word must be heard. Tweak the automation if you’re using it; automate the track if you’re not. 
  1. Can you hear every note being played? If solos or signature lines are being masked, automate the track to hear every note, or tweak the automation until you can. 
  1. Are the sounds dull or uninteresting? Are generic synth patches or predictable guitar or keyboard sounds being used? Try modifying them with an effect. 
  1. Does the song groove? Does it feel as good as your favourite song? Is the instrument or instruments that supply the groove loud enough? 
  1. What’s the direction of the song? Should it be close and intimate or big and loud? If your current direction isn’t working, try the opposite. 
  1. Are you compressing too much? Does the mix feel squashed? Is it fatiguing to listen to? Is all the life gone? Decrease the mix buss compression first. Decrease the main instrument or vocal compression next. Decrease the rhythm-section compression next. Decrease the compression on everything else lastly. 
  1. Are you EQing too much? Is it too bright or too big? Decrease the upper mid range EQ on the vocals, guitars, loops, and snare. Decrease the low-frequency EQ on the bass and kick. 
  1. Are your fades too tight? Does the beginning or ending of the song sound clipped? Adjust the fades until the attack transients of the notes are distinct. 
  1. Did you do alternate mixes? Did you do at least an instrumental-only mix? 
  1. Did you document the keeper mixes? Are all files properly named? Are you sure which file is the master? Have you made a backup?

Getting good at mixing takes time and practice and like most things, the more you do it the better you get. All the steps you take and processing you do should be done with the big picture in mind and that is to have a great sounding song at the end of the mixing stage. It’s easy to focus on certain elements of a song like the kick and  bass or vocal and lose focus on the song as a whole. Try and listen to your song as a whole entity.

I’ve also taken great songs I’ve written and ruined them with awful mixes, sucking the life and soul from them through over processing and getting tired of listening to them.  To combat this my advice would be to take regular breaks, A/B reference your song against songs you love and lastly don’t spend too long mixing as you get tired of songs this way. For this last point I would recommend really focusing on mixing when you do it, best done by turning off your internet and not having distractions when you actually sit down to mix. Basically – FOCUS! 

Personally for me there are 3 stages to making music. 1. Writing the song. 2. Mixing the song. 3. Mastering the song. All stages are important in their own right and all take time to master, so have fun in the process. On that note, happy mixing and  music making! 🙂


Episode 11 – What is Mastering?

Production Tips

We’re very lucky to have lots of great Mastering Engineers and Mastering Companies that use SendMusic. 

Check some of them out below:

Compound Audio

Revolution Mastering

(Note – There are lots of others, sorry if I missed you)!

So what is mastering exactly and do you need it? In this blog episode I attempt to answer some of these kinds of questions and others that pop up about the dark art most of us have heard of called Mastering!

What is Mastering?

It’s basically the end process in the audio production cycle where a piece of audio, (i.e. a song or stem), is prepared for the formats that are used for replication and distribution. In normal english this basically means that you finish a song, you mix it and then you get it mastered to give it that final sparkle in terms of it sounding as crisp, clean and as loud as other tracks that you hear on the radio. (*NOTE* when I do a mix I leave at least 6dB to 10dB of headroom on the master channel giving the Mastering Engineer at least 6dB to 10dB of headroom to really push your mix. So your mixdown must be hitting somewhere between -6dB & -10dB on your master channel and never hitting the red. So in my case I make a track, I do a mixdown and then I get it mastered. After this I can release the track out to the wider world and share it.

Mastering also unifies the sound of a number of tracks that comprise an album or EP. A mastering engineer makes every track on an album or EP sound cohesive with others, making them sound balanced in terms of volume and EQ. Mastering is super important to do when you are finalising a number of tracks for release as an album or EP and tricky, so i’d always engage a mastering engineer for this.

How mastering impacts the sound of a record?

Mastering corrects mix balance issues and enhances particular sonic characteristics, taking a good mix (usually in the form of a stereo file) and putting the final touches on it. This can be done by adjusting levels and general “sweetening” of the mix through use of EQ. Mastering should take a good-sounding mix and give you a professional-sounding, finished master. You need a good sounding mix pre-mastering as any mistakes or errors in your mix will just be exposed in the mastering process.

In general mastering can involve adding broad equalization, applying compression, limiting, etc. My mastering engineer uses lots of outboard analogue gear which I feel adds some nice warmth to my tracks but many mastering engineers are now ‘in the box’ completely, using only plug-ins to enhance a mix.

Is mastering always necessary?

Yes, mastering is always necessary to finish a track. I would say that if you are producing individual tracks for release, with the plug-ins available today like Ozone for example, it is definitely possible to master yourself at home. You just need patience, practice, lots of breaks (no tired ears) and references to measure your work against. There are tons of youtube tutorials on this subject also, so give it a try. Personally I prefer to go to a professional at this stage for a fresh pair of ears and my mastering engineer also has lots of amazing analogue outboard equipment to run my mix through. I feel running my mix through this outboard gear really adds something to my tracks harmonically, some refer to this as warmth. 

If however you are making an album or an EP comprised of two or more tracks I would definitely err towards going to a mastering engineer as balancing out more than one track takes time, skill and expertise. Again it’s not impossible but would need a high level of patience and dedication to learning how to do it and executing the process properly.

What kind of improvements does mastering make to my music?

Mastering helps you get the right balance, volume and depth for any style of music. It can add punch and clarity to your mix giving it real life and vitality. The general idea behind mastering is after you have mixed down your track, you get it mastered and it will sound better! But how much better depends on you and in particular how good your mix is.

Mastering engineers are magicians when it comes to hiding low level mistakes, like over EQ’ing certain elements or fixing instrument levels that aren’t balanced properly. But If your mix contains distortion it really makes it difficult for a mastering engineer to hide, as fixing distortion is very difficult. So to make sure your mix is good for submitting to a mastering engineer – never hit the ‘red’ on the meters of any channels in your mix, make sure you leave headroom on every channel. It’s important that when you send across a mixdown you give a cushion of between -6dB and -10dB below zero on your master channel allowing room for processing.

What should I send the mastering engineer?

You can either send them a stereo out file of your whole mix, bounced down as a 24bit/48KHz wav file. Or you can send them the main grouped stems from your mix (this is what I do). So in my case i’d send separate 24bit/48KHz wavs of ‘drums’, ‘bass’, ‘synths’, ‘vocals’ etc. This gives the mastering engineer more scope to tweak levels and add processing if required on seperate groups that comprise your mix. 

The other thing that i’d say is perhaps send across a reference or two of tracks you’d like your track to sound like. This can help the mastering engineer gauge the sound and level you are aiming for. Once again though, a mastering engineer can only work with what you’ve provided, so if your mix isn’t polished in the first place the mastering process is not a magic bullet that will fix it. 


Different mastering engineers have different styles so experiment with different ones to get one you are comfortable working with. It’s definitely possible to master tracks on your own these days, but in my opinion you need to study the art of mastering to get to an adequate level to do this. Mastering is quite distinct in style and approach to mixing. I would say do give mastering at home a go as you will then understand the process more which is a good thing. Remember, always get a great sounding mix first and always enjoy the whole audio production process.


Episode 10 – 10 Music Making Tips

Production Tips

We’ve all been there, we start a song, everything is great but after awhile you get stuck or bored with progress and it becomes part of the ever expanding ‘unfinished song graveyard’ on your hard drive. From a personal point of view, my Achilles heel when it comes to finishing songs is creating amazing loops that i’m initially really into, listening to them repeatedly but not structuring them into songs quickly enough. In the end I just get bored of the loop just as you would by listening to any song on repeat and then I start on something else. It’s so easy to become a serial starter!

I reckon everyone has something that holds them back when making music, so to improve as producers we need a level of self analysis in terms of what hinders our music making, to get better at actually finishing whole songs. Essentially it boils down to creating the right habit(s) as we as humans are creatures of habit. Through repetition of tasks, in this case the practice of finishing a whole song, we get better and quicker at it. On that note, excuse the musical pun, I thought for today’s tenth episode of the blog I’d list 10 music making tips that you might consider to help you finish more songs, try different things and create a better song finishing habit. Here we go:

  • Use your smartphone correctly

What I mean here is don’t surf the internet, use social media or play Pokemon Go when you’re making music. Put your phone in Airplane mode! Smartphones are such a distraction and really make us lose focus on what we are doing. You need to focus on the task at hand here which is making music and not faffing about on your phone while trying to make music at the same time.

(But, do use your phone on the go to record musical ideas, vocals and melodies. I do this all the time using the voice memo app and it’s great for getting down inspiration quickly. See also point 8. below)

  • Keep your workplace tidy

Sound silly but a really useful thing to maintain is a clean and tidy studio space that is organised and efficient. A clutter free zone is so much better for your musical zen.

  • Know how to make a song in your genre of choice

You’re most probably making music in a specific genre. Therefore you really need to understand the general structure that most songs, well at least the ‘big’ ones, follow within this genre. Study how long the intro is in bars, the pre chorus, the drop etc. Then recreate this structure with a song of your own.

  • Let the main actors in your movie star as they should

Your song is like a movie, there are lead roles, there are supporting roles and there are extras. The most important instruments are like the lead roles in a movie and should be treated that way, getting a lot of focus. One of these lead roles is almost always the vocal and needs the maximum screen time! Learn to respect the roles of the different voices and instruments in your song, they all carry different weight and need to be shown correctly. I didn’t used to think about the parts of my song in this way before but since I have my productions have gotten a lot better.

  • Subtract

Try some subtractive composition. It’s so easy in this era to have too many tracks and layers, limited only by the processing power of your computer. Try muting tracks and stripping the track right back to the vocals and drums and adding elements in from there. Simplicity is beauty!

  • Keep your partner (non-musical!) happy

“When will you be finished?”, “You spend so much time making music”, “It’s me or the music!”, ok so I haven’t had the final statement thrown at me by the wife just yet but the other question and statement or similar are common in my producer friend circles. Keeping your partner happy and being in the music game is tough and tricky. You definitely need to allocate time for your better half and make them feel valued – date nights, day trips, flowers…work your magic, it’s worth it for the music! 

  • Break the rules

You probably use the same chords or progressions a lot. Or maybe the same synth patches or plug in presets. It’s time to try something new, break away from what you usually do and try something new. It’s so easy to do the same process repeatedly or use the same thing again and again. This new method to creation needs some focus and you need to set out on trying a new approach for creating your next song.

  • The magic is all around you

Listen to the world around you, inspiration in sound is everywhere. A mechanical tone here, a door closing there, an alarm going off. With phones and other modern recording devices sampling the world around us has gotten easier and easier. Try getting some inspiration from the world around you and incorporating it into a track. It means you need to practice active listening and really start to use your hearing consciously more, which is a good thing. You also get to add unique sounds and textures to your productions, sounds that no one else using Splice or sample libraries has!

  • “Take a break, have a Kit Kat”

For my Worldwide friends a Kit Kat is a chocolate bar in the Uk and they used to have a commercial that had the phrase “Take a break, have a Kit Kat” in it. You guys get cultural knowledge on this blog also! Ok so you don’t need to have a Kit Kat but it’s very important to have breaks when making music. Hardware / Software issues, getting a great take, giving a good performance, even 5 mins of ‘away’ time can work wonders in helping us to relax and refocus. 

  • See you later

When you have finished a song don’t listen to it till the next day with fresh ears. If it sounds good, play it through different systems, my favourite for this is the car as that’s where I listen to lots of music and my ears are trained really well to how the car speakers work. Also play your song through your phone and elsewhere. Does it sound good across all playback systems? You need to make sure the song will sound great where most people will hear it. 

That’s it folks, get into the habit of creating songs quickly and trying new things, oh and listening for inspiration around you. Hope some of those points might help you think about things in a new light. It’s all so simple isn’t it! 🙂

Episode 9 – SendMusic to Make Standout Music

Music Business, Production Tips

My production partner, Matt Thurtell and I just released our latest single! “AiEW” (short for All I Ever Wanted) under our production guise – ‘pirateblood’ via Spotify, happy days! Check it out here:

As part of my life outside of co-founding SendMusic I am also a music producer. SendMusic comes into its own during the music production process (yes I would say that but it actually does!). For our workflow Matt and I bounce down versions of the tracks / edits we are making or have made and send them to one another using SendMusic (he’s based in Italy near Rome, i’m in London). We can then listen to the tracks on the go via the inbuilt audio player – SendMusic was created to be a ‘mobile first’ tool. One of the most useful features is that when either of us listen to the file we receive the sender gets an email telling them that the file they sent has been listened to. That’s so useful when I need to know Matt has listened to the music I’ve sent him and it gives me the opportunity to harass him until he has! Everything that I receive goes into my SendMusic ‘Inbox’ and the files I send go into the “Sent’ folder which makes it really easy to get access to all the music files I receive and send quickly. As well as this I’ve also added my SendMusic profile link to my socials, (i.e. my Instagram and Twitter) – – so anyone can click on this and send me music directly really quickly. Finally i’ve customised my SendMusic page by adding a background image related to the work I do. You can now customise your own SendMusic page by changing the page colours or by adding a background image of your choice and you can remove all SendMusic branding which makes the page look completely your own. This is a really neat feature for producers, labels, A and R’s, Mastering Engineers, well anyone really, who wants to have a unique looking page through which to receive music in a beautiful way, that looks like your own and essentially aligns your brand with how you want it conveyed to the wider world. Why not give it a go 🙂

Anyways, I’ve made music for a long time now and as mentioned in older posts it’s gotten a lot easier to make music and release it these days. I really do believe this is a great thing as it means more people can make and release music, meaning we should be getting lots more better music. However in reality and from speaking to record label A + R’s and other music industry people it also means there’s a ton more poor quality music out there, making it in turn a real slog to listen and sift through to find that next gem. So if you are making music how do you stand out these days, well i’m sure there are quite a few ways but i’ll share some of those with you below and how SendMusic really helps in the process. I’m not going to lie, it isn’t easy but with hard work and dedication it is possible. Here are 4 quick tips to try and stand out from the crowd:

1.Focus on making great music, the art. Regardless of anything else, if you haven’t got great authentic music there’s not much point in moving to any of my suggestions below. This essentially means hard work in the studio, practice practice practice, A/B testing against big tracks in the genre you are making to check the mix you’ve done etc.

2. Once your music is good enough – GET IT OUT THERE. You’ll soon know if it is any good. Send it to tastemakers in the scene, to blogs, Spotify playlists etc. This is the hustle part and as much as it’s a known thing to do we music / artistic types are generally really crap at this. We procrastinate, we do it half heartedly or worse still we send it to one label and don’t hear back and give up. The music business is about learning to accept rejection, not giving a damn and continuing to push. It’s not easy, you need to be focussed and keep on keeping on. This is where some infrastructure can also help, e.g. being signed to an independent label or having a manager who will push the business hustle on your behalf.

3. Learn the Music Business – read “All you need to know about the music business”:

4. Have some sort of social media presence (and a SendMusic page lol). People need to know you and see what you are doing. You need to build a fan base and engage the people interested in you by interacting with them. Again this can be a slog and needs discipline.

In conclusion, to make music is easier than ever now, but to stand out and get heard is harder than it’s ever been, especially as making is so accessible to the masses. However if you’re disciplined and focussed and work hard there is every opportunity out there for you to have a career in music. Ultimately it comes down to you and your mindset and setting up the correct infrastructure to make your dream a reality. Keep pushing and best of luck!

Episode 8 – Youtube Learning Channels

Production Tips

I use Ableton as my DAW of choice, recently I’ve started using FL Studio also, especially since FL Studio 20 launched with Mac support (it had been PC only before that). When I first started producing I used Cubase, Acid (I doubt anyone remembers that), Pro Tools and then Ableton and FL Studio, with a bit of low level usage of Logic thrown into the mix.

Back in the day it was a real ball ache to learn a DAW, you had to do one or more of the following:

  • Actually read the manual
  • Get a book, and again, read that
  • Be lucky enough to get shown by someone who was in ‘the game’
  • Pay for tuition in some guise (class or private)

Guess what, in my quest to be the next Quincy Jones (the greatest producer ever in my humble opinion), I did all of the above at some point. BUT, then the internet came in it’s full power, mobile technology enveloped our lives, cat memes became … you get the point. Basically YouTube came about and I didn’t have to read a manual again – (however I did read the Serum manual a little while back so the geek game is still strong in me).

You may ask – why Ableton? It’s super quick, it’s easy to learn, it’s like playing an instrument, especially using the Clip view. The stock plugins are superb, need I say more? Basically it’s a joy to use. However to be honest I don’t think it matters what DAW you use, as 9th Wonder said – “it doesn’t matter if you have the latest Nike Air Jordan’s, if you can’t jump you can’t dunk” – well something like that. Anyways on that note and with the help of some blogs I follow I list below 10 Top Youtube channels for Music Production learning resource. These are all DAW agnostic and brilliant so make sure you check them out:


Prolific creative Mr. Bill’s channel is a goldmine of insights and Innovation. Glitch Hop, Breaks and much more, he’s well worth subscribing to for Ableton Live enthusiasts.


Very active YouTuber specialising in advanced FL Studio techniques. Seamless recreates synth sounds from popular dance tracks imparting wisdom as he goes.


FM in the studio is possibly the best known studio series on YouTube. No tutorials specifically but the biggest artists from around the world are all here. Workflow, plugins, DAWs and more are on show. Read between the lines for nuggets.


Danny J Lewis a tutor from Point Blank decided to create his own channel. Spanning Ableton, Cubase, Logic Pro, NI Machine and Bitwig with a community on Facebook, MPT is a pretty cool way to learn new stuff and join in.


Pensado is main stream pop focused content featuring Interviews with todays super producers, subtle studio techniques with a ProTools Focus. Some may find the slow pace and endless Ums, Errs and Ahs too much to take.


Comprehensive tutorials, reviews and more. Free video content is a made available to help sell sample packs and video courses on the site. The ADSR YouTube channel is well worth a visit for it’s production techniques and covers all the bases.


Sonic Academy is top notch content with the aim to get you to subscribe to more tutorial courses online. Freebies are worth subscribing if you are serious about educating yourself. This is the channel for people who like to read manuals.


Point Black similar to Dubspot, great info delivered by teachers in an effective way. Contains musical fundamentals often overlooked by more production focused channels. Relatively Lame demos based in Logic and Ableton Live.


Sadowick Another Ableton live user with a passion for sharing tutorials to help others. Offers sample packs for free with the aim of selling more content through his website. He Has to come Numero Uno for worst channel name out of the bunch.


Dubspot is active and technically accurate tutorials based on Ableton Live. Nuggets of gold here if you can tolerate the uncool music of people who didn’t make it so became teachers instead. #tooharsh? Also nothing to do with DUB either…


There’s loads of knowledge out there now, available for free. If you’re disciplined and motivated that’s great. It takes time to learn and you actually have to practice what you are learning, so make sure you’re always creating. But it’s also never a bad idea to do a course in a more structured studying approach. Whatever you do, have fun and keep the music flowing.

Episode 7 – Music Production and DAWs

Production Tips

Outside of my life as co-founder of SendMusic, the fastest and most secure way to send music files, (sorry had to get that in there), I am a published music producer. What does that mean I hear some of you say.  Well basically I have made music and it’s been published by a publishing company called No Sheet Music. They like the music i’ve submitted to them, signed it so they own the rights to it for a period of time and have then put it on their website so others can browse their whole music library and choose music for specific purposes. In my case my music has been synchronised to television globally, in commercials mainly. I have had syncs with Audi, the BBC, ITV etc. Quarterly I get a payment for any work that I have had synced and it’s wonderful to see my music being played as far afield as Australia, China, India to name a few places. I get a quarterly statement and it shows me how much I made the quarter gone and where my music was played.

We’re very lucky now in that making music is readily accessible to nearly anyone using the most basic of device. I remember back in the day when I started out, getting into a recording studio was almost a dark art. I mean it when I say I used to scour my local area looking for studios to somehow get into as I had so much music in my head that I wanted to get out there into the world. Nowadays however there are literally just two things, in my humble opinion, that you need to start making music in the digital realm – a computer and a DAW.

I’m sure you know what a computer is but what is a DAW? Well DAW stands for Digital Audio Workstation. A DAW is basically either hardware or software used to record, edit and produce music. I’ve used a number over the years and they all have their own pros and cons but they’ve all gotten really good over the years. As such which DAW is best for you really boils down to a few things – what style of music you are doing, how easy is it to use (this is subjective really and depends on how much effort you put into learning the DAW) and the cost. Over the years i’ve used the following DAWs in chronological order starting with oldest first:

  • Cubase
  • Pro Tools
  • Logic (sparsely)
  • Ableton
  • Bitwig (sparsely)
  • FL Studio

Notable exclusions from this list are:

  • Studio One
  • Reason
  • Reaper
  • Digital Performer

I think the above lists highlight the plethora of options that are available now.

So what sorts of features do DAW’s have? While each program has its own unique layout and features, all DAWs are capable of recording digital audio, editing and processing it, and mixing multiple tracks together. Most DAWs also incorporate MIDI functionality, allowing notes to be programmed or played via MIDI controller to control virtual instruments like synthesizers. Plugins are also a major feature of DAWs, doing everything from simple EQ and compression to vintage amp modeling.

To wet your palette there are free DAWs out there you can play around with to get started, things like Audacity, Reaper and Garageband on a Mac are great starting points. Beyond these the industry studio standards are really either Pro Tools or Apple’s Logic. Some DAWs could be considered specialty, almost genre specific. For example Ableton is very popular in Dance music circles, encompassing genres ranging from House to Drum and Bass. FL studio on the other hand is extremely popular in the hip hop / rap world. The best thing to do is do some research, think about what style of music you want to make, look up the biggest producers and see what they use. Then get it, legally! Go onto youtube and watch tutorials, there are thousands for every type of DAW and then start finishing whole songs, not just loops (like I did for a long time). Most importantly also, have fun and enjoy the process and journey!

My own personal set-up now consists of the following 2 DAWs, Ableton 10 and FL Studio 20 (beta) which i’m testing. I must say i’m very happy with this setup as I can open FL Studio as a plugin within Ableton. This for me is amazing as i lean towards making dance stuff and hip hop so all bases are covered with my DAW choice. Any questions do ping me a question: