What the Mixer Does
The Mixer gives every track its own channel strip — volume fader, 3-band EQ, compressor, pan knob and Solo/Mute buttons. It sits before the Mastering chain, so you shape individual tracks here and let the Mastering EQ and Compressor handle the final glue.
Step 1 — Understand the Channel Strip
Each channel strip contains these controls from top to bottom:
- Track label (color-coded: LEAD=blue, BASS=purple, KICK=red, etc.)
- S (Solo) — mutes all other tracks so you only hear this one. Click again to unsolo.
- M (Mute) — silences this track without removing it from the mix. The fader stays where it is.
- HI / MID / LO — 3-band EQ knobs: simple shelving/peaking EQ for quick tonal shaping
- CMP — Per-track compressor: toggles a compressor on this channel
- PAN knob: positions the track in the stereo field (C = center, L = hard left, R = hard right)
- Volume fader: the main level control. 0 dB = unity gain (no change); drag up to boost, down to cut
- dB readout at the bottom shows the exact fader position
Step 2 — Set a Balanced Mix
The goal of mixing is that every instrument is audible and nothing is too loud or too quiet. Start by pressing Play and listening to the full mix at all-unity (0 dB on every fader). Then adjust one track at a time.
A Starting Template for Chiptune
- KICK: +10 dB — the rhythmic backbone, needs to punch through
- BASS: +5 dB — warm and supportive, should sit just below the kick
- LEAD: −10 dB — the melody, prominent but not overpowering
- SNARE: 0 dB — even with the mix
- HI-HAT: −15 dB — high frequencies can overwhelm; pull back significantly
- HARMONY: −25 dB — chords support without competing with the lead
- ARP: −30 dB — fills the background texture
- FX: −40 dB — very subtle, just adds flavor
Step 3 — Use Solo and Mute
Press S on a channel to solo it — all other tracks go silent. This lets you focus on one instrument in isolation to check its notes, timing and tone without the rest of the mix distracting you.
Press M on a channel to mute it. Unlike solo, muting affects only that track — the rest keep playing. Muting is useful for:
- Checking what the mix sounds like without the bass line
- A/B testing whether a track is helping or cluttering the mix
- Building tension in an arrangement by dropping out the hi-hat or FX
Step 4 — Shape Tone with the 3-Band EQ
Each channel has three EQ knobs for quick tonal shaping:
- LO: Controls bass frequencies (roughly 100–300 Hz). Turn up for warmth, down to thin out a muddy bass or kick.
- MID: Controls midrange (roughly 500 Hz–3 kHz). This is where most melody and presence lives. Boost for forward sound; cut to push a track back in the mix.
- HI: Controls treble (roughly 4–10 kHz). Boost for brightness and attack on hi-hats and leads; cut to soften harsh digital sounds.
Practical EQ Tips
- Bass track: Cut HI, keep LO and MID — bass should be warm, not bright
- Kick drum: Boost LO for thump, cut MID for punch (less boxiness), leave HI alone
- Lead melody: Slight MID and HI boost for presence and cut-through
- Hi-Hat: Cut LO entirely (no bass on cymbals), boost HI for shimmer
- FX track: Cut LO and MID to keep FX sounds from competing with lead and bass
Step 5 — Per-Track Compression (CMP)
Click the CMP button on any channel to toggle its individual compressor. The per-track compressor uses the same controls as the Master Compressor — threshold, ratio, attack, release — but applies only to that one track.
When to use per-track compression:
- Bass: Compressing the bass keeps it at a steady level, preventing loud notes from overwhelming the mix
- Kick: Light compression tightens the attack and makes the kick feel more consistent across the pattern
- Lead: If the melody has very dynamic note velocities (loud and quiet notes), compression evens them out
Step 6 — Pan for Width
The PAN knob (just above the fader) positions each track left or right in the stereo field. A centered mix can feel narrow. A few strategic pans make the mix wider and give each instrument its own space:
- Kick, Bass, Lead: Always keep these centered — they are the rhythmic and melodic anchors
- Harmony: Pan slightly left (−20 to −30%) for a wider stereo image
- Arp: Pan slightly right (+20 to +30%) to mirror the harmony
- Hi-Hat: Pan slightly left or right for a more realistic drum feel
- FX: Pan anywhere — FX sounds are decorative and can live anywhere in the field
Step 7 — Watch the Master Channel
The MASTER channel (rightmost strip) shows the combined level of all tracks. Keep an eye on its level meter while playback runs:
- Green zone (−12 to −3 dB): Healthy mix level with headroom for the mastering chain
- Yellow zone (−3 to 0 dB): Getting close — watch for peaks
- Red CLIP indicator: The mix is too loud and is distorting. Pull individual faders back until the clip indicator stops lighting up
Leave at least 3–6 dB of headroom on the master before export. The mastering compressor will bring the final loudness up without clipping.
What's Next?
- Mastering EQ + Compressor → apply final tonal shaping and loudness maximization
- Master Effects → add reverb, delay and chorus across the full mix
- Mixer Automation → draw volume and EQ curves that change over the arrangement timeline (e.g. fade in the bass over 4 bars)
- Export → render your mixed and mastered track as WAV or MP3
Happy mixing! 🎮