# How do you mix and master in a DAW after you've exported the stems?



## MadLad (Mar 10, 2021)

That's pretty much the question. I only know how to apply different kinds of reverb but the actual process of mixing and mastering has always been a mystery to me. I just don't know what to do to make it sound any different.

So, let's say, I export the stems without any reverb. I have, for example, a piano trio. So, I have 3 tracks and I can apply reverb to them or the master channel and then what? What do you do? Do you have a specific process, specific things you do? Could you please tell me? I want to mix and master my music after I've written it in Staffpad for that extra 10%. What are the important things you have to do? It can't just be applying reverb and what not, there's got to be more to this.

Any experts, who can give me a few tips on where to start? I actually thought about selling some of my good stuff on Bandcamp or other platforms but I want it to have that extra 10% so that I can deliver a quality product to potential customers.

P.S. I use Reaper but I'd also just like to hear general tips for a start just to know where to begin.


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## waveheavy (May 1, 2021)

Well, I guess others don't want your competition.

Mixing is one thing; mastering is another. They're separate processes.

Here's a Mix strategy:
1. balance the instrument volumes per their type and dynamic of the composition. A clarinet volume that overtakes a whole brass section will sound fake. Picture how real orchestra, piano, etc., instruments sound in the real world.
2. Do an initial mix balance and pan, no effects at this stage.
3. Apply EQ cuts first, but only as needed. Concetrate on over-powering or harsh frequencies, and do a small narrow dip. Start with -3dB amounts. Orchestra instruments usually don't need much EQ. Go through all instruments and find where its low end stops. Then cut everything down past the low end. Once you've gone through this, then look for instruments that sound like they're masking each other. Decide which one to apply EQ on, until you can hear the problem go away. At this stage, should only EQ with full mix playing.
4. Apply compression. Multiple compressors hitting a little is always better than one compressor hitting a lot. Orchestra instruments shouldn't need much compression, if any at all.
5. Only now do you apply room or reverb effects. This is a whole other learning area, how to create space.

1. Mastering is about a new session using only very small amounts of EQ and compression for polish. If the recording and mix are well done, then there's not much to do with mastering except setting the final level. Levels vary based on requests. I try to use an average of -10dB RMS (loudness) for stuff like Folk, Country, Gospel. Little quieter for orchestra, Jazz. Louder for Pop and Rock. You'll have to learn the difference between dBFS and dBRMS. The dBFS is your peak meter, which you don't ever want to go over, less say -0.3dB. The final Mix level before mastering should be around -7dBFS on the peak meter, maybe lower if its orchestra or Jazz.


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## Gabriel2013 (May 1, 2021)

Mixing is an art form, if you spend the time and energy you will eventually get better.

My advice is go and watch those Alan Meyerson videos on YouTube and try to replicate some of the stuff.
Keep it simple or you will be frustrated very fast

Has for Mastering just use a preset and see which one works better for you (I am assuming that you want to spend more time composing than Mixing/Mastering).

Final, always send the stems to a professional Mixer (even if is from StaffPad) if budget allowed.
There is no better way to learn from real experience, and watch what the professionals do with your stems.


Funny story:
Once I mention to the guy who usually mixes my music, that I hear a must better definition in the cellos that in my reference mix.
He simply replied that he was using the plugin that Alan M. suggest in one of his videos to give it more punch.
The funny thing was that I was the one who showed him the video, but he has more than 10000 hour of mixing has I have more than 10000 hour of composing (that's the difference).


Cheers
g


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## MadLad (May 1, 2021)

Thank you both for your reply! Yeah, I started working a lot with EQ and compressors in the meantime and a few new plugins. While it makes a difference the one thing that is still lacking is the bright sound. It still sounds mostly dull and dark. But I want that bright and clear sound, like you're sitting in a concert hall.


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## waveheavy (May 2, 2021)

MadLad said:


> Thank you both for your reply! Yeah, I started working a lot with EQ and compressors in the meantime and a few new plugins. While it makes a difference the one thing that is still lacking is the bright sound. It still sounds mostly dull and dark. But I want that bright and clear sound, like you're sitting in a concert hall.


That will take time to learn. It's not just about EQ boosting the high end of the mix a couple of dB either. Producer Fab Dupont has a good tutorial on his website, which to me is the best explanation of how to create space in a mix using reverbs.


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## MadLad (May 3, 2021)

waveheavy said:


> That will take time to learn. It's not just about EQ boosting the high end of the mix a couple of dB either. Producer Fab Dupont has a good tutorial on his website, which to me is the best explanation of how to create space in a mix using reverbs.


Do you happen to have the acutal video? I found a mixing course in four parts on youtube but I'm not sure if this is the right one.


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## gh0stwrit3r (May 3, 2021)

waveheavy said:


> Well, I guess others don't want your competition.
> 
> Mixing is one thing; mastering is another. They're separate processes.
> 
> ...


Waveheavy pointed out good things here.

The libs I use on SP (mostly Spitfire Audio and Cinesamples) are pre-panned. So if you stick to one manufacturer, you won't need to do any additional panning perse after the export of STEMS.

I prefer to do the balancing in SP. So if necessary I adjust the volume of the instruments in the app itself. If you're planning to create more compositions with the same instruments, save it as a template. You'll benefit from that in the long run.

About the reverb. Most samples have the room space baked in. You could dial back the reverb in the app, but you could benefit from it too in my opinion. You can build really great mockups in SP. So I tend to leave the reverb on and adjust it to my taste if necessary.

So that leaves not much to mix in my DAW after the export of STEMS. I just clean them up (remove the low end rumble of instruments if it's there), add some analog saturation if I think it helps, hardly use any compression, do some small volume adjustments on the parts where SP can handle them correctly and add an algo reverb for some glue. That's it.

Hope this does make sense.


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