Welcome to Sage Audio. Today we’re talking about How to Mix Mid-Range
But first, if you have a mix that you need mastered send it to us at SageAudio.com to
receive a free mastered sample of it.
Mid-Range Saturation
In my opinion, the best way to add a lot of power to your mid-range is to use frequency-specific
saturation to create harmonics that make your fundamentals more easily perceived. This distortion
will make the range sound full and impressive by amplifying in-key aspects of the range.
I like using FabFilter’s Saturn 2 for this, but Trash 2 by Izotope is another good frequency-specific
saturation plugin.
Mid-Range Upward Compression
Using the FabFilter multiband, I can create upward compression by combining the compression
setting with a positive range. This means that the quieter aspects of the range being
compressed will be captured and amplified from the bottom up. With that in mind, I can
isolate my mid-range and create upward compression.
Low-level compression creates a very full sound so use it when the mids sound weak.
Subtle Mid-Range Reverb
If the mid-range of a mixbus, stem, or instrument is sounding too separate or like it needs
to be blended a bit, use very subtle high-density reverb on your Mids. The higher number of
reflections caused by a high-density setting ties everything together.
Again, use this at a lower setting if using it on a stem or mixbus, but it can be used
more aggressively on an individual instrument.
Quick Mid-Range Downward Compression
If you need to control your mid-range’s dynamics, set up a parallel track using a
bus or auxiliary send - first insert an EQ with a high and low-pass filter, then insert
a compressor. Use a quick attack and a medium release, about 100 to 200ms will work well.
This way you can compress the mid-range and significantly control it, then blend that
compression back in with the original signal.
Aggressive Mid-Range Bus
Following the last concept, use the same EQ settings on the auxiliary send, but then introduce
aggressive stylistic compression. After that, use a saturator with moderate settings, and
lastly use a low-level compressor - this will isolate the midrange, distort the mid-range,
and then increase the detail.
This can sound really intense so use this if you want a really aggressive mid-range.
Subtractive EQ on Mid-Range
If your mid-range is sounding boomy, or disharmonious in some way, find out the key of your song
and then reference the notes that are being played. For example, if your song is in the
key of A major, a C shouldn’t be too prevalent.
In this case, find the frequency that corresponds to C and attenuate it. Cut these disharmonious
notes from the mid-range, but only by 3 to 6dB - no need to do it aggressively.
Bouncy Mixbus Mid-Range
On your mix bus, so when affecting the full mix use a multiband dynamics processor and
use upward expansion on the mid-range. Use a quicker attack and then try to time the
release with the BPM of the track to give it a bouncy, musical feel.
I’d recommend doing this only by a couple of dB, and ensure that the threshold isn’t
being triggered too often.
Clear Mid-Range
The upper edge of the mid-range may need some attention too since it’s where you have
the majority of your vocal and clarifying instrumentation. Use a high mid-band or an
exciter to add some clarity and detail to this section - fresh air by slate is a good
option.
Also, Izotope’s exciter can be made frequency-specific, making it great for adding clarity to the
high mids.
Stereo Image Your Mid-Range
Using a mid-side equalizer, expand the width of the mids by amplifying a sideband, or increase
the power of the center by using a mid-band. I find that slightly boosting the side’s
low mids in an instrument bus can make the entire mix sound full.
Additionally, using this method to pull out details that are being masked, in turn adding
more detail to the mix.
If you have a mix that you need mastering send it to us at SageAudio.com to receive
a free mastered sample of it.
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