Mixing Instruments & Mixing Synths - A Step-By-Step Guide

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academy/)
How To Mix Music (Part 5): Mixing

Instruments & Synths
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n this episode I explain you step by step how we go about mixing
I instruments and mixing synths. I understand that big mixing

projects can get quite overwhelming, especially when you are not
completely sure how to treat each sound, and having to choose from all your
plugins. Thats how this was for me at least, when I started out 5 years ago.
There are so many different types of sounds, and they all need to be treated
differently. Fortunately, over these years we have created universal guidelines
that help us time and time again to create beautiful mixes and make all
instruments and synths find their place nicely in the mix and Im going to
share these guidelines with you in this article.
How To Mix Music is our essential guide to becoming a music mixing

professional. With this series I help explain and teach music mixing to you
musicians, producers, and aspiring mixing engineers.
I share our years of experience and insight on music production, mixing and
mastering. Covering the necessary preparations, tools, underlying physics
and insider tips and tricks to achieve the perfect mix and master.
The first episode (/essential-guide-becoming-music-mixing-

mastering-professional-fundamentals/) covers setting yourself up to
become a great engineer. We discussed monitoring, DAWs and plugins,
composition, and stem preparing.

The second episode (/essential-guide-becoming-music-mixing-

professional-part-2-signal-flow-plugins/) covers organizing your
mixer, setting up your signal flow, and understanding the essential plugins
(EQ, compressor, reverb, and delay).
The third episode (/how-to-mix-music-mixing-guide-part-3/) covers

how to improve your stereo image and make your mix sound wider. Also, we
covered how to use the essential plugins to mix kicks and snares, the
backbone of a song.
#2ea3f2>The fourth episode (/how-to-mix-music-part-4-mixing-drums-

mixing-bass/) covers how to mix drums and how to mix bass. We covered
how to mix bass sounds, claps, percussions, toms, crashes and hi hats.
In this article I cover the exact workflow we use at Heroic Audio for mixing
instruments and synths. I explain step by step how we place these different
elements in the mixing space, go over our compressor settings, and give
equalising tips to achieve a clean and crisp mix.
Ready? Lets go!
If youre looking for quick fixes for your instruments and synths, consider
grabbing my free cheat sheet. In this cheat sheet I outline easy step-by-step
solutions to the 19 most common problems for mixing instruments and
mixing synths:

Mixing Synths

There are many different types of synths, you probably know the saw synths,
plucks, leads, atmospheric synths, and a dozen other types. All of these have
different shapes, frequencies and volumes that will also all be different

depending in which key you play them in.
Each synth will need to be mixed differently according to its sound. I will now
explain how to mix a variety of these different synth types and how you can
treat them best to improve your song.
Saw Synths
Placement
Saw synths are often used to give a song more body in the mid frequencies.
Especially when the saw synth is used to play the main chords throughout the
song, it sounds great when placed in the center of the mix.
When the saw synth is played for shorter instances or in higher keys (with
higher frequencies), there is opportunity to experiment with placement on
the sides of the mixing space.
EQ Cut:
Saw synths tend to get muddy very quickly, make sure to set a high-pass filter
right before the key frequency to cut a way any unnecessary rumble. A rule of
thumb here is to never have frequencies below 100Hz.
Depending on the type, the saw synth can be rich in high frequencies. This
might give the synth the edge youre looking for, but it is highly dangerous in
cluttering the high frequencies of your mix.
To prevent this from happening, set a low-pass filter at least somewhere

between 10kHz and 14kHz. This way the synth has still a sharp impact while
you save space for your hi hats and crashes to come through cleanly.

(https://heroic.academy/wp-content/uploads/2016/03/Mixing-Instruments-Synths-
Saw-Synth-EQ-Cut.jpg)
MIXING INSTRUMENTS & SY NTHS SAW SY NTH EQ CUT
Compression
Saw synths can have either a short- or a long attack and release. If the attack
of the synth is short, you can set the attack time of the compressor slightly
after the attack time of the synth to give it a punchy impact.
We compress synths about 3dB with a ratio in between 2:1 to 5:1.
If the saw synth has a long attack and release you might want to give the
compressor a lower ratio to keep a subtler dynamic sound. With a long attack
of the synth, the attack of the compressor can be shorter and with a softer
knee.

Saw-Synth-Compressor.jpg)
MIXING INSTRUMENTS & SYNTHS SAW SY NTH COMPRESSOR
EQ (Boost)
Only boost saw synths if it is necessary. Boost frequencies between 100Hz
and 300Hz to enhance the sound of a round, and full body. Boost frequencies
between 6kHz and 10kHz to enhance the brightness of the saw synth.

Saw-Synth-EQ-Boost.jpg)
MIXING INSTRUMENTS & SY NTHS SAW SY NTH EQ BOOST
Reverb
Be hesitant on giving saw synths reverb, they often have a big frequency range
and easily clutter the reverb space. Wait until the end of the mixing process to
evaluate whether your saw synths need reverb or not they often dont.
If you decide to give the saw synth some reverb, send a send/auxiliary/bus
signal to the main reverb bus as we discussed in episode 2 (/essential-
guide-becoming-music-mixing-professional-part-2-signal-flow-plugins/) of
this series.
Lead Synths
Placement
Lead synths come in many shapes and sounds, but are most often used to
portray the lead melody of the song. As this is an important function, lead
synths sound great when placed in the center of the mixing space.
In some occasions you can also experiment with stereo placement of lead
synths. This could be possible in emptier mixes, where the lead would not be
in danger of being masked by other elements.
EQ (Cut)Lead synths often play their part above the main chords played by
the saw synths, keys, or other synths or instruments. Therefore, they rarely
have low frequencies.
Nevertheless, stay consistent and always clean up the mix by setting a

high-pass filter right before the key frequency. For lead synths this is often
somewhere between 300Hz and 600Hz.

Set a low-pass filter at around 12kHz to define its high frequencies. This way
you keep the high-end aspect of the lead synth, while saving enough space for

the hi hats and crashes to come through cleanly.

Lead-Synth-EQ-Cut.jpg)
MIXING INSTRUMENTS & SY NTHS LEAD SY NTH EQ CUT
Compression
Same as with saw synths, lead synths can have either a short or a long attack
and release.
If the attack of the synth is short, you can set the attack time of the
compressor slightly after the attack time of the synth to give it a punchier
impact. This is often somewhere between 15 milliseconds and 40
milliseconds.
CHEATSHEET: QUICKLY IMP ROVE THE MIX OF YOUR INSTRUMENTS & SYNTHS

We often set the release time of the compressor somewhere between 60

milliseconds and 200 milliseconds.

We compress synths about 2dB to 4dB with a ratio in between 2:1 to 5:1.
If the lead synth has a long attack and release you might want to give the
compressor a lower ratio to keep a subtler dynamic sound. With a long attack
of the synth, the attack of the compressor can be shorter and with a softer
knee.

Lead-Synth-Compressor.jpg)
MIXING INSTRUMENTS & SY NTHS LEAD SY NTH COMPRESSOR

EQ (Boost)S
ame as with saw synths, only boost lead synths if it is really necessary. Boost
frequencies around 1kHz to bring the synth more to the foreground. Boost
frequencies between 6kHz and 10kHz to enhance its brightness.

Lead-Synth-EQ-Boost.jpg)
MIXING INSTRUMENTS & SY NTHS LEAD SY NTH EQ BOOST

Reverb
Depending on the style of the song, lead synths can sound great with some
reverb. Sending the lead synth to the main reverb can give a bigger and more
spacious feel to the track.
Pluck Synths
Placement
Pluck synths consist of short sounds. Therefore, they are rarely used to
portray the main chord body of the song. Because of the short sounds, pluck
synths can sound great on the side of the mixing space.
EQ (Cut)
Set a high-pass filter right before the key frequency to prevent the mix from
getting muddy. This is especially important if you pan the pluck synth to the
side of the mix.
This is often somewhere between 180Hz and 1kHz.
Pluck synths often need their higher frequencies to have their impact in the
mix. Set a low-pass filter around 12kHz to allow this, while still keeping
enough space for your hi-hats and crashes to come through cleanly.

(https://heroic.academy/wp-content/uploads/2016/03/Mixing-Instruments-Synths-Pluck-
Synth-EQ-Cut.jpg)
MIXING INSTRUMENTS & SY NTHS PLUCK SY NTH EQ CUT
Compression
Generally, pluck synths have a short attack and a short release. It sounds
great to set the attack time of the compressor after the attack time of the
pluck synth to enhance the punch of the sound.
This is often somewhere between 20 milliseconds and 40 milliseconds. The

release time of the compressor can be short as well, between 35 milliseconds
and 100 milliseconds often sounds great.
We compress synths about 3dB with a ratio in between 2:1 to 5:1.

Lead-Synth-Compressor-1.jpg)
MIXING INSTRUMENTS & SY NTHS LEAD SY NTH COMPRESSOR
EQ (Boost)
In some occasions you can boost between 5kHz and 10kHz to enhance the
higher frequencies and make the pluck synth cut through the mix a little
more.

Lead-Synth-EQ-Boost-1.jpg)
MIXING INSTRUMENTS & SY NTHS LEAD SY NTH EQ BOOST

Reverb
If the song and mix allow, pluck synths can sound beautiful with a little
reverb. Use the main reverb for this.
Atmospheric Synths
Placement
Atmospheric synths are used to create the atmosphere of a space that is not,
or cannot be created by reverb or by recording. These synths often have big
frequency range and a wide stereo image.
Used wrong, atmospheric synths can ruin your mix. Used right, atmospheric
synths create that special atmosphere you are aiming for.
EQ (Cut)
With a low-pass filter you can cut away the high frequencies of the
atmospheric synth. If you choose to let these synths keep their high
frequencies, they will appear closer and brighter.

Atmoshperic-Synth-EQ-Cut-Bright-Close.jpg)
MIXING INSTRUMENTS & SY NTHS ATMOSPHERIC SY NTH EQ CUT BRIGHT & CLOSE
If you choose these synths to have less high frequencies they will appear
deeper and further away.

Atmoshperic-Synth-EQ-Cut-Deep-Far.jpg)
MIXING INSTRUMENTS & SY NTHS ATMOSPHERIC SY NTH EQ CUT DEEP & FAR

With a high-pass filter you can cut away the low frequencies of the
atmospheric synth.
If these synths have low frequencies they will appear deep and heavy, if these
synths have less low frequencies they will appear lighter and more breathable.
Since these synths often have low frequencies while being very stereo, they
are a danger in making your mix muddy. If the low frequencies are not an
important aspect of the sound, make sure to cut these out with a high-pass
filter.
If you want to maintain the low frequencies, you can control the stereo image
of the atmospheric synth by using a multiband stereo imager.
In this example I use the iZotope Ozone 6 Stereo Imager. I make sure all
frequencies below 100Hz are completely centered (mono), and frequencies
between 100Hz and 500Hz are not too much on the sides. This prevents the
mix from sounding muddy.

Atmoshperic-Synth-Imaging.jpg)
MIXING INSTRUMENTS & SY NTHS ATMOSPHERIC SY NTH STEREO IMAGER
Compression
It often sounds great to compress atmospheric synths subtly. Use a soft knee
and a low ratio of about 2:1. The attack can be short, but the release time of
the compressor can be long.
We often compress atmospheric synths by 2dB to 3db.

Atmoshperic-Synth-Compressor.jpg)
MIXING INSTRUMENTS & SY NTHS ATMOSPHERIC SY NTH COMPRESSOR

EQ (Boost)

We rarely boost atmospheric synths. In some occasions however, you could
boost frequencies between 5kHz and 10kHz to enhance the brightness of the
synth.
Atmoshperic-Synth-EQ-Boost.jpg)
MIXING INSTRUMENTS & SY NTHS ATMOSPHERIC SY NTH EQ BOOST
Reverb
Atmospheric synths already create a sense of space and do not necessarily
need reverb. You could choose to apply the main reverb to your atmospheric
synth, to make it more part of the space of the rest of the song. But be careful,
as this might clutter the reverb space too much.

Mixing Instruments

Mixing Keys, Pianos and Organs

Placement
Keys (or piano or organ) can sound great both in the center as well as on the
side of the mixing space. Find the best spot for them by avoiding the place
where they might mask, or get masked by other elements in the mix.
Masking is a mixing problem that occurs when two (or more) elements are
using the same frequencies at the same time. When this happens, one
element will be less audible than it should be it is being masked by the
other element.
EQ (Cut)
Make sure to cut away any unnecessary low frequencies, especially when the
keys are placed on the sides of your mix. Set a high-pass filter right before the
key frequency. As a rule of thumb dont have frequencies below 100Hz.
Set a low-pass filter at around 10kHz to ensure enough space in the high
frequencies for your hi-hats and crashes to come through cleanly.

(https://heroic.academy/wp-content/uploads/2016/03/Mixing-Instruments-Synths-Keys-EQ-
Cut.jpg)
MIXING INSTRUMENTS & SY NTHS KEY S EQ CUT
Compression
The compression on keys often sounds great with an attack time between 25
milliseconds and 60 milliseconds, and a release time between 50
We often compress keys by 2dB to 3dB with a ratio of 2,5:1.


Keys-Compressor.jpg)

MIXING INSTRUMENTS & SYNTHS KEY S COMPRESSOR

EQ (Boost)
Keys rarely need any boosting of frequencies. In some occasions you could
boost frequencies between 1kHz and 6kHz to enhance its brightness and
definition.
Mixing Instruments & Synths - Keys - EQ Boost (https://heroic.academy/wp-content/uploads

/2016/03/Mixing-Instruments-Synths-Keys-EQ-Boost.jpg)
MIXING INSTRUMENTS & SYNTHS KEY S EQ BOOST
Reverb
Wait until the end of the mixing stage to evaluate whether or not the keys
need reverb. Your mix could sound much cleaner without reverb on the keys.
However, in the emptier mixes, or emptier moments in the mix, keys can
sound beautiful with a little of the main reverb.
Mixing Guitars
Placement
If the mix allows, guitars sound great on the sides of the mix. If done
correctly this can really change your songs stereo image for the better.
EQ (Cut)
Guitars can quickly make your mix sound muddy. Make sure to cut away any
unnecessary low frequencies by setting a high-pass filter before the key
frequency of the guitars.
Often, guitars dont need frequencies below 180Hz.
Set a low-pass filter at around 12kHz to save enough space in the high
frequencies for your hi-hats and crashes, while maintaining the brightness of
the guitars.

(https://heroic.academy/wp-content/uploads/2016/03/Mixing-Instruments-Synths-Guitar-
EQ-Cut.jpg)
MIXING INSTRUMENTS & SY NTHS GUITAR EQ CUT
Compression
Guitars often sound great with the attack time of the compressor between 10
Depending on the guitar sound, the release time of the compressor can be
short or mid-long between 30 milliseconds and 120 milliseconds.
We often compress guitars by 3dB with a ratio of 2:1 to 4:1.

Compressor.jpg)
MIXING INSTRUMENTS & SY NTHS GUITAR COMPRESSOR
EQ (Boost)
Only boost guitars if necessary. In some occasions it can sound great to boost
frequencies around 350Hz to enhance the body.
In other occasions it can sound great to boost frequencies around 6kHz to

8kHz to enhance the brightness and definition of the guitar.

EQ-Boost.jpg)
MIXING INSTRUMENTS & SY NTHS GUITAR EQ BOOST
Reverb
Same as with keys, wait until the end of the mixing stage to evaluate whether
or not the guitars need reverb. Your mix can sound much cleaner without
reverb on the guitars.
However, in the emptier mixes, or emptier moments in the mix, guitars can
Mixing Strings & Violins
Placement
If your strings dont have (or dont need) low frequencies, they can sound
great on the sides of the mixing space.
EQ (Cut)
Strings can quickly make your mix sound muddy, especially when placed on
the sides of the mixing space.
Critically evaluate if your strings need all the low frequencies they have
often they can do without. You can often set a high-pass filter somewhere
between 100Hz and 500Hz.
Set a high-pass filter right before the key frequency. Set a low-pass filter at
around 12kHz to save high frequency space for your hi-hats and crashes.
In some occasions it also sounds great to set the low-pass filter at a lower
frequency to make the strings appear from a further distance.

(https://heroic.academy/wp-content/uploads/2016/03/Mixing-Instruments-Synths-Strings-
EQ-Cut.jpg)
MIXING INSTRUMENTS & SY NTHS STRINGS EQ CUT
Compression
Strings and violins often sound best when compressed delicately. Use a soft
knee and a ratio between 1,5:1 and 2,5:1.
For strings you can use a long attack between 40 milliseconds and 80
milliseconds, and a long release time between 80 milliseconds and 150
milliseconds.
We often compress strings about 2dB to 3dB.

Compressor.jpg)
MIXING INSTRUMENTS & SY NTHS STRINGS COMPRESSOR
EQ (Boost)
Boosting strings can quickly sound ugly. Only in some occasions you can
boost frequencies around 8kHz to enhance the brightness.

EQ-Boost.jpg)
MIXING INSTRUMENTS & SYNTHS STRINGS EQ BOOST

Reverb
Same as with keys and guitars, wait until the end of the mixing stage to
evaluate whether or not the strings need reverb. Your mix can sound much
cleaner without reverb on the strings.
However, in the emptier mixes, or emptier moments in the mix, strings can
Mixing Horns, Trumpets & Trombones
Placement
Same as with strings, if your horns dont have (or dont need) low
frequencies, they can sound great on the sides of the mixing space.
EQ (Cut)
Make sure to cut away any unnecessary low frequencies by setting a
high-pass filter before the key frequency of the horns.
Often, horns dont need frequencies below 150Hz.
Set a low-pass filter at around 10kHz to save enough space in the high
frequencies for your hi-hats and crashes, while maintaining the brightness of
the horns.

(https://heroic.academy/wp-content/uploads/2016/03/Mixing-Instruments-Synths-Horns-
EQ-Cut.jpg)
MIXING INSTRUMENTS & SYNTHS HORNS EQ CUT
Compression
Same as with strings, horns often sound best when compressed delicately.
Use a soft knee and a ratio between 1,5:1 and 2,5:1.
For strings you can use a long attack between 30 milliseconds and 70
milliseconds, and a long release time between 60 milliseconds and 130
milliseconds.
We often compress horns about 3dB.


Compressor.jpg)

MIXING INSTRUMENTS & SY NTHS HORNS COMPRESSOR
EQ (Boost)
Boosting horns can quickly sound ugly. However, if the sound allows, you can
enhance the body of the horns by boosting slightly between 200Hz and
350Hz.
Also, in some occasions you can enhance the brightness of the horns by
boosting frequencies between 6kHz and 9kHz.

EQ-Boost.jpg)
MIXING INSTRUMENTS & SY NTHS HORNS EQ BOOST
Reverb
Same as with keys, guitars, and strings, wait until the end of the mixing stage
to evaluate whether or not the horns need reverb. Your mix can sound much
cleaner without reverb on the horns.
However, in the emptier mixes, or emptier moments in the mix, horns can
sound beautiful with the main reverb.
Did you grab my instruments & synths cheat sheet? If you havent already,
grab it at the bottom of each post to improve your instruments and synths.
Quickly solve the 19 most common issues:
-
That concludes this episode of our How To Mix Music series. You can
comment and ask any questions below.
The plugins I used for the examples in this articles are: Fabfilter Pro Q
(http://www.fabfilter.com/products/pro-q-2-equalizer-plug-in), Fabfilter
Pro C (http://www.fabfilter.com/products/pro-c-2-compressor-plug-in) and
iZotope Ozone 6 Imager (https://www.izotope.com/en/products/mixing-
mastering/ozone?gclid=CKuGz9rKpMsCFQLkwgodzjIDIw).
Next episode we continue with how to mix: vocals and sound effects.
Thanks again for reading the articles, for sharing the message, and all the
kind emails I keep receiving. Everything is much appreciated and I am very
happy these articles are useful to you guys.

I am Tim van Doorne, its an honour to serve you. Stay motivated to

improve your sound, every single day!
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14 Comments Heroic Academy
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Daniel Jourdan 10 months ago

Hi Tim, thanks so much for the great series! Not sure if my mixing has actually improved
yet but... hopefully it will soon!
I just have one question- If each instrument must have its own space in the mix, then how
can let's say a lead and a piano/pad with overlapping high and mid frequencies fit together
cleanly in a -3 RMS edm hit without it sounding crap. (e.g. Nick Romeo-I could be the One
or Avicii- Levels) When I try making an edm drop which involves layered leads and pads, it
just sounds messy and unprofessional despite eqing, saturating and compressing with
quality plugins. Is there any chance you could shine a light on this issue?
Thanks again,
Daniel
Reply Share

Tim van Doorne > Daniel Jourdan 10 months ago
Hey Daniel, thank you for sharing this. Great question.

I've just listened to "Avicii vs Nicky Romero - I Could Be The One" and "Avicii -
Levels", and here is how they solve this issue in both songs:
They have the piano playing the main chords. This is mainly active in the low-mid
frequencies, and they've placed this on the sides of the mix.
They have the lead synth, with a bigger frequency range from low-mid to high-mid
and even some highs, and placed this in the center of the mix.
Then they layered the lead synth with a higher frequency noisy synth, and placed
this on the sides of the mix.
Besides placing elements in the mix dependent on frequency, you also have the
ability to use the stereo field / image. You can place left, center, or right (and slight
variations in between). I advise you to download the free PDF "Understand Music
Mixing In Just 7 Slides" from the first article of this mixing guide: http://heroic-
audio.com/essent... - this is the easiest way to understand this framework.
Hope this helps, and thanks again for reading!

Reply Share
Daniel Jourdan > Tim van Doorne 10 months ago

Thanks a lot for the detailed reply! I think the problem with my mix was that I
had the low mid piano in the centre instead of the sides and a pad that was
wide but conflicting with the leads (which were of coarse more central) as it
had too much high information. I have one more question though (if you don't
mind me asking :D) which follows up to this.
In terms of EQing pads and leads to fit, should the pads still have quite a bit
of high frequency information despite being mainly there for the low
frequencies, or should they only really have the low mids and not much else?
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How To Mix Music (Part 5): Mixing

n this episode I explain you step by step how we go about mixing

I instruments and mixing synths. I understand that big mixing

How To Mix Music is our essential guide to becoming a music mixing

The first episode (/essential-guide-becoming-music-mixing-

The third episode (/how-to-mix-music-mixing-guide-part-3/) covers

#2ea3f2>The fourth episode (/how-to-mix-music-part-4-mixing-drums-

To prevent this from happening, set a low-pass filter at least somewhere

Nevertheless, stay consistent and always clean up the mix by setting a

 MIXING INSTRUMENTS & SY NTHS LEAD SY NTH COMPRESSOR

This is often somewhere between 180Hz and 1kHz.

This is often somewhere between 20 milliseconds and 40 milliseconds. The

We compress synths about 3dB with a ratio in between 2:1 to 5:1.

We often compress atmospheric synths by 2dB to 3db.

We often compress keys by 2dB to 3dB with a ratio of 2,5:1.

Mixing Instruments & Synths - Keys - EQ Boost (https://heroic.academy/wp-content/uploads

Often, guitars dont need frequencies below 180Hz.

We often compress guitars by 3dB with a ratio of 2:1 to 4:1.

In other occasions it can sound great to boost frequencies around 6kHz to

Mixing Strings & Violins

We often compress strings about 2dB to 3dB.

Mixing Horns, Trumpets & Trombones

Often, horns dont need frequencies below 150Hz.

Recommend Share Sort by Best

Join the discussion

Daniel Jourdan 10 months ago

Hope this helps, and thanks again for reading!

Daniel Jourdan > Tim van Doorne 10 months ago

EDM is growing up (takeaways from ADE and trends of the industry)

Follow to download gates: the #1 strategy for accelerating follower

G e t Starte d () Su pport ( h ttps ://h eroic.acade my/kb/)

P ress (/ c om pany/) - P r ivac y ( /p r ivac y/) - Careers ( /c areers / )

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