Wie meistert man einen Mix aus Gesang und Instrumenten, um einen professionellen und konsistenten Sound zu erzielen?

This tip on gain staging in general is more often than not is the reason behind cleaner sound. No matter the tools - this will always remain important, because there's an actual limit to how much sound can be put inside a domain.

I just turn knobs or click plugins until it sounds good.. People get too involved with technique or what they saw on Youtube by Joe "making youtube videos instead of mixing". Things have changed but they've also stayed the same. Its music, use your ears and heart.. Easy..

Yes, very important. One approach to leveling is to mute all of the tracks and slowly bring up the levels, 1-by-1 starting with the most important or prominent track of the song. In rap music, for example, this can be the kick or the bass drum for example. Bring that to -12 dB and then use your ear to bring up each of the following sounds to an appropriate level in the mix. Fine tune once all of your tracks are audible, as the end user only hears the mix, not the individual sounds

I think the most important part of mastering, is the mixing down of the track, pre-mastering. If your track is too hot and distorting with no headway, you can not fix that in mastering.

It's important to build a space for each instrument so that you have full control of the sound in the end mix. One of the most common mistakes is not creating spaces for the bass drum on the drumset and the bass instruments. If you've ever been to a concert and didn't feel a strong sense of rhythm and groove despite the skill of the musicians, this is the mistake the sound engineer is making. Find the space the bass drum fills, cut it from the bass guitar, and then slope the EQ in the remaining instruments to cut out the frequencies that the bass and bass drum take up and you'll create the perfect space for these instruments to live while still keeping balance.

Using narrow EQ bands, one can do the "search and destroy" method of EQing - boosting a small band of EQ and sweeping it through the frequency spectrum to search for problematic or dissonant frequencies, then bringing down their gain once a problematic frequency is found. Search for then destroy the problem frequencies.

On a different day, on a different volume level and in a different mood - things will sound different in terms of tone. Too bright, too flat, too thick, too dull etc. Hence the practice of keeping an actual aim, represented by an audio file inside your project, that is not going through any plugins, just as is. Through comparison the correct tone would then be applied.

You want to lay a brick wall with evenly measured and manufactured bricks. In music it is not that straightforward, but its a good analogy. When you add vocal into music and the vocal is not loud enough, you would increase its volume. At other parts it would be the opposite that makes you want to reduce it. This balancing is never going to balance out, unless you apply compression. Only when it is holding that range of overall loudness, its pretty much an analog to a brick and can be put into the right pocket perfectly.

Compression can be a tough one for beginners to understand, but the most important parameters are Threshold & Ratio - the level which compression begins and how much compression is happening. Everything louder than the threshold that is going through the compressor will be reduced by the ratio your chose. If the ratio is 4:1 and there is 4dB of audio input going into the compressor, then the output audio will only be 1dB louder than the threshold - 3dB of gain reduction,

These imitate real world reflections to give us an audible known environment through hearing. This is a broad and quite an experimental topic. Used to either mask an untreated recording to give it a different space, or simply put because the music and the vocal do not match the environment and fall out like characters from different movies. Can be used to give a blend to everything, such as a one quiet reverb to the whole album.

As suggested here, it can be a really good idea to add reverb and delay on a return or aux track. Many producers add these effects directly onto the sounds, and the result is a weaker, less natural sound. When using a return track, you still keep the original quality of the track, and the effect is added on top of it without altering the original tone - which is important when trying to preserve the natural tone in recordings.

Panning is like having chairs in a theatre. Some people would sit only in the center, just because, and some dont mind their small role at the side of the stage. If this seating is not done, than one has to deal with multiple characters sitting on top of one another and this can cause troubles in your mix.

Panning can be a great way to add body and flavor to your mix, as well as help certain parts and elements stand out. Panning can be used very creatively, but it is also very easy to overdo. Be tasteful with it

Our hearing is deceiving. Be absolutely sure of your perfect world masters and use them to evaluate your work through comparison. If the masters are yours and they sound world class - you just may have something serious!

Referencing your mix on multiple speakers is definitely a good idea. I also recommend checking your mix in mono to avoid any phasing issues being created that aren't sticking out on stereo mix.

Know your monitoring. You can't properly gauge your work if your monitoring is lying to you. If you know your system as well as one can, achieving quality work consistently is quite simple. Know your tools

I used to go through elements pretty much once and check them once when mixing multitrack projects. These days I tend to go back and forth until I minimize fixable problems to 1-2 in total. Then I reference to the demo version on the same volume - this has maximum importance. Louder would always sound better, even a superior quality audio would sound bad in comparison to a louder inferior audio.

Check your LUFS to see your mix's digital loudness. Depending what you are mixing for, there are certain loudness targets you should aim for. I recommend downloading Youlean Loudness Meter, a free loudness meter you can find online and using it to check your mixes

Una vez logrado y ejecutado los pasos aquí mencionados, también es muy importante creer en nuestros oídos y no seguir haciendo cambios en la mezcla, en especial si es un concierto en vivo. Además tenemos que conocer a la banda o proyecto en el cuál estamos trabajando para poder identificar los instrumentos primarios y secundarios, asé jerarquizamos y logramos una mezcla homogénea, equitativa e intentando lograr el resultado más cercano a lo que el productor musical nos haya pedido.