Mixing Techno
A one-day course on mixing techno, by guest teacher Brice.
This is the most dense way you could ever learn mixing.
The most experienced techno mixing engineer I know came to the classroom to give us a one-day course in mixing techno music. This is the result: decades of mixing experience condensed into a one-day experience. It starts from the philosophy, offers you a method (recursive mixing), a new way of listening (3D listening and mixing), and guides you through listening exercises that help you solidify this knowledge.
Do yourself a favor: Make one day in your calendar free, and watch this mixing workshop. It will be some of the best time you spend ever learning music production.
Learning something like mixing music depends heavily on experiencing things yourself, so it's best learned from another human - be really careful trying to learn this stuff from an AI!
It would be even better if you could be in the room like the people in the workshop, but this videocourse really is the next best thing.
The students share their unfinished tracks as well, and Brice helps them articulate what they hear, and offers many many many tools to achieve their artistic goals.
“I’ll never listen to music the same way again” — one of the course participants says this halfway through the course.
Your teacher for today
As DJ and producer he is known as Pattrn, but he has also been a booker and sound engineer at the iconic Fuse club, and taught mixing and electronic music production at SAE Institute and the Royal Conservatory of Mons. He knows his stuff, and he knows how to talk about it.
I have learned so much from Brice myself, I feel lucky to pass this on to you now as well.
Go follow his mixing advice on Incidence Studio on Youtube or book his services on his website.
Keep an eye on the Underdog website for more classroom workshops and events.
After lunch, Brice walks us through listening exercises and then works on the students' work, helping them understand how to mix their own work better.
What is mixing?
3D mixing — theory
Level balance is KEY
Frequency carving
Arrangement and contrast
Everything needs context
First cut, then boost
Width and mono-compatibility
Dynamics and crest factor
Q&A, Gain staging
Q&A, Talking with mix-and-mastering engineers
Q&A, Listening quiet and loud
Q&A, Monitoring and referencing
3D listening in practice
Student work 1
Student work 2
Student work 3 & creating distance
Student work 4 & envelope followers
Student work 5 & crest factor on a snare
Student work 6
Brice mixing 1
Brice mixing 2
Brice mixing 3
Brice mixing 4
Conclusion and Brice aftertalk