🔴LIVE | ADVANCED mixing tricks you don't need to know lol

Quick recap

A live session where Andrew debunks and demystifies a number of “advanced” mixing tips that get hyped online. He walks through pan laws, DAW vs analog summing, LUFS loudness, signal‑chain fetishism, bit depth / 32‑bit float and dithering — explains what they actually do, shows quick examples (including a work‑in‑progress song with the band Crusade), and repeatedly argues: don’t obsess over tiny technicalities — finish music and mix with your ears.

“Don’t obsess over tiny technicalities — finish music and mix with your ears.”

Main points and highlights

Pan laws and panning math

• Explanation: panning often reduces level on one side while some DAWs compensate by boosting the other (commonly ≈ +3 dB).
• Practical gotcha: double‑tracked guitars or vocals can seem louder in AB tests because of pan‑law math, but this is a small and rare issue.
• Inter‑DAW stems: different DAW pan‑law defaults can change perceived balance when moving stems between systems, though Andrew calls most of the panic around this overblown.
• Advice: be aware of pan laws, but don’t let them derail your workflow — trust your ears and reference listening.

DAW summing vs analog summing

• Digital summing is mathematical (1 + 1 = 2); analog summing adds color/saturation so levels and perceived behavior differ.
• Analog‑modeled plugins can emulate the “sponge” behavior of analog gear — useful, but not a magic fix.
• If using real analog gear, use VU metering and listen for the sound rather than blindly chasing numbers.

LUFS (Loudness Units Full Scale)

• LUFS measures perceived loudness over time (short‑term vs long‑term).
• Transient peaks versus sustained material can change metering without matching perceived loudness.
• Practical reference: Andrew suggests around −6 LUFS as a starting place for modern rock/metal, but emphasizes using genre context and references.
• Advice: know streaming targets and use LUFS as a guideline, not an artistic dictator.

Signal chains

• The order of plugins/hardware sometimes matters, but there’s no single “one true order.”
• Recommended approach: test different orders, flip things around, and listen — the best chain depends on the instrument and the goal.
• Andrew’s analogy: dressing — choose the order that fits the situation.

Bit depth, 32‑bit float, and dithering

• 24‑bit is sufficient for most projects; 32‑bit float gives extra headroom and convenience but increases file size and isn’t always necessary.
• Dithering matters when downconverting (e.g., high‑res → 16‑bit for CD), but most indie producers don’t need to overthink it.
• Analogy and tone: crayon analogy for bit depth (illustrative, not technical advice).

Practical examples used

• Drum/snare comparisons to show subtle differences.
• Bass compression order tests.
• Pan tests demonstrating pan‑law effects.
• Work‑in‑progress song by the band Crusade shown as a running example.

Big takeaways / tone

• Many “advanced” tricks are niche or overhyped — understand them, but don’t let them stall finishing songs.
• Make decisions with your ears, use references, and test instead of following rules or YouTube “secrets” blindly.
• Differences shown were often subtle, reinforcing the point to focus on musical results over perfect technical purity.
• Delivery was light and personable with a few jokes and analogies (sponge vs concrete, keyboard knock, etc.), plus a plug for one‑on‑one coaching.

Notable names / tools mentioned

• Andrew (host)
• Crusade (band — WIP song shown)
• Tools / DAWs / companies referenced: Studio Pro (shown), Reaper, Slate, UA, Waves