Get A Dynamic Mix With 5 Easy Tips 

Want to get a more dynamic mix? Read this article for 5 easy tips. 

There have been some recent signs that the music public is ready for recordings with more nuanced dynamics than we saw during the zenith of the loudness war. One example is the resurgence of vinyl records. Even in the digital realm, streaming platforms have contributed by normalizing tracks in a way that punishes masters who place a premium on loudness. 

Consider whether a lack of dynamics is part of the problem if you’ve ever listened to a waveform of one of your finished mixes and wondered why it’s simply missing that certain something. Instead of cranking up the master limiter, try these suggestions. 

1. Leave space up top 

P: It’s a problem if your mix is clipping the master. If a limiter is the only thing protecting you from clipping the master, you still have a problem – and pulling down the master fader isn’t the answer! 

Start by lowering tracks down to leave healthy top room before you start mixing the final version of a track. This is a sure-fire way to incorporate a dynamic mix. 

 2. Control insert effects 

It’s all too easy to be persuaded that you enjoy what an insert does just because it makes a track louder. Check that you haven’t simply raised the overall volume before signing off on processing. If this is the case, adjust the output of the plugin or processor such that the total level is comparable to the insert in and bypassed. 

Throughout a mix, some fader levels will undoubtedly have to be raised. Still, just because the compressor setting you just dialed in made the track louder doesn’t mean you should believe it’s magic. This is a sure-fire way to incorporate a dynamic mix. 

3. Leave the solo button 

Yeah, I know — soloing tunes is sometimes required! As mixers and producers, it is our responsibility to listen for minor issues that may necessitate soloing. 

Processing a track with a solo on, on the other hand, makes you more likely to hype it up in ways that cut into the top room for other tracks. 

When extensive listening is required, isolate tracks, but keep an eye on the big picture of the mix. Make mix decisions that emphasize a track’s function in context, and you’ll be less likely to waste important top room to the song’s detriment. This is a sure-fire way to incorporate a dynamic mix. 

4. Don’t compress all tracks 

Compression isn’t necessary for all tracks in a mix. Tracks that are left to breathe are frequently used in a mix of depth and dynamics. Compressing some music may act against their natural desire to be in the background. 

Everything in a mix will be compressed, creating a higher level for the most important tracks to soar above. This can lead to a situation where faders continuously creep up during a mix, causing a small amount of top room to be lost each time. 

The solution is to compress with intention. Understand why compression is being used and how much is required to obtain the desired outcome. If you can’t answer those questions, it’s a solid indication that you don’t need to compress. This is a sure-fire way to incorporate a dynamic mix. 

5. Leverage the dynamics you have 

With their instruments, good musicians will structure the song’s dynamics. Before adding dynamics processing such as compression or limiting, take the time to objectively listen to the source material. Then, as appropriate, apply dynamics processing, preferring techniques that preserve existing dynamics. 

This argument holds even when working with less dynamic source material. Listen for the song’s natural rythm, then figure out which instruments will best complement it and mix accordingly. This is a sure-fire way to incorporate a dynamic mix. 

Bottom line 

Taken individually, none of these suggestions will guarantee that a lifeless mix will regain its dynamics. While ensuring that a mix doesn’t clip the master is a solid start, there are still plenty of methods to suffocate a mix with a lot of top room. 

Contextual awareness is a skill that distinguishes top-tier creators from beginners. It becomes possible to surprise and captivate listeners with dynamic twists and turns when we can bring that wide vision of a track into focus. 

Something’s There | Rachel Slater