Stop Making Small, Muddy Mixes That Clutter Up Your Low End and Never Sound the Same Anywhere

There was a time I had no idea how to make my instruments fit together in the mix.

My guitars kept getting in the way of the vocal and my bass guitar regularly clashed with my kick drum. I didn't know how to create separation between any of my instruments! Every time I used an EQ I had no idea how much (or where!) I should boost or cut to make my mix sound better.

If EQ was hard, compression was "Expert Level Difficulty!"

Every time I tried to compress my drums and bass to make them tighter, I'd end up with a squashed drum sound and a weak low-end. I was never really sure what all the buttons the compressor did, and I certainly didn't know which ones to use to create tight mixes like I heard from other expert engineers. 

Balancing the dynamics of the song without squashing and over-compressing each instrument was foreign to me.

Sure, presets were handy to start with, but I usually got lost trying to tweak them to suit my mix.

If I finally got a good mix using EQ and compression, I'd derail the entire thing again when I added reverb and delay.

I'd end up with way too much reverb, making my mixes sound weak and washed out. Then, when I'd return to the mix the next day I'd overcompensate for my mistakes and end up with a mix that sounded two-dimensional and flat.

I honestly didn't understand what to listen for in a mix so I kept randomly putting plug-ins on tracks, tweaking presets that didn't fit the tracks and selecting inappropriate effects that weren't suitable for the song.

You probably have a similar story.

Once you're done recording you have to make all those tracks fit together in the mix. However, all you get is a muddy mix where the drums take over the bass in the low-end, the guitars sound thin and your vocals are buried underneath the instruments. Because of that, you can't create a clean mix where you can hear all the instruments clearly.

Even worse, if you finally get a decent sound in the studio it'll still sound bad in your car. No matter what you do you can't get your mix to sound the same everywhere.

Let's not forget about the time it takes to mix a whole song. Even if you've gotten so good at mixing that your songs sound good across the board you might still waste a lot of time tweaking the final mix instead of knowing when it's good enough to release.

I'll be the first one to tell you that I understand exactly what you're going through.

As you already know, I've been there.

Luckily for you, I've come a long way since then, Today my band mates, clients and music friends compliment me on how clean and clear my mixes sound.

They love the fact that they can hear each instrument in the mix.

My kick drum doesn't clash with the bass guitar anymore. Instead, they work together like a well-oiled rhythm machine, keeping the mix clean but thick in the low-end. Even the guitar player and the vocalist have stopped fighting about which instrument should be louder because they can hear themselves equally.

Today, when I add compression to a track, I'm the one in charge, not the compressor. I'm not scared of tweaking the settings anymore. I know what buttons to push to make mixes tight and loud. My drums pack a punch when I need them to hit hard, but they can also lay back if the genre demands it. I've learned to compress each instrument so you can hear everything clearly without the tracks sounding squashed.

Once I've balanced my mix with EQ and tightened it up with compression I now love experimenting with different reverbs and delays. Instead of randomly selecting the wrong reverbs I now have a system in place.

The system helps me choose the best way to add the right space to a mix. Throughout the years I've amassed a huge bag of tricks for using reverb and delay to create depth in my mixes without them ever feeling too washed out.

Lastly, I spent a lot of time experimenting with different saturation plug-ins to get the best results. Not every saturation plug-in fits with every track so through trial and error I discovered when and where to use the right style of saturation to bring my mixes to the next level.

Put simply; I'm proud of the mixes I release today. I can clearly hear the improvements I've made throughout the years, but the best part of it is:

Now, bands love my mixes enough to pay for them!

If you want to get to that level, it's clear as day what you need to do to improve your mixes.

Newsflash: it's not buying another expensive plug-in (as much fun as they are to play with...)

Nope. It's learning how to use the tools you already have to get a great mix.

When you know how to use the tools you already have you not only save money from all those plug-ins you won't need to buy, but you also save time by knowing exactly how to fix your mixing problems.

When you know instinctively how to get rid of muddiness and a flabby low-end you'll crank out mixes much faster than if you were playing with a new plug-in every day.

​You'll feel like a virtuoso musician that can jam with everybody in any genre, except in this case, you'll be mixing those musicians together to make them sound amazing.

And with enough songs in your portfolio you'll start getting paid work from bands that like your mixes. At that point it pays to work fast and know how exactly how to transform their rough recordings into polished mixes. The better you understand how these five fundamental mixing processors work, the faster you'll create great mixes and make more money from the.

I don't tell you this just to get your hopes up. I tell you this because I know you can get to this level too.

It's exactly how I started getting paid, and there's no reason you can't do the same.

Even if audio isn't your main job right now you still need to know how to make good mixes, even if it's just in your spare time.

In case you don't know me, I'm Björgvin Benediktsson and I've been working in the audio industry since 2006. I started out doing live sound back home in my native Iceland, but since then I've transitioned into recording and producing. First in Madrid, Spain, where I went to audio engineering school, and today I make a living as an audio engineer in Tucson, Arizona.

Throughout the years I've learned a lot about mixing, and if there's one thing I truly love doing it's teaching musicians and engineers like yourself how to make a bigger impact with your music. I've taught thousands of up and coming home studio musicians and engineers through Audio Issues since 2011.

Let me tell you, I've come a long way since the beginning...

I used to suck at mixing. I wanted it to be this fun and cool thing but it was just intimidating. I didn't know any better so I kept randomly slapping plug-ins on every track, and shrugging my shoulders because I couldn't figure out how anything worked.

I had much of the same problems as you do. My mixes sounded boomy in the low-end, the drums sounded boxy and my overall mix balance was always either too harsh or too muddy.

Put simply, my mixes sounded unprofessional and amateurish.

The reason why was simple. I had no plan of action, and no concrete steps to make my mixes sound like I wanted.

Years later, after countless hours of trial and error, I finally know what I'm doing and it always comes back to these basic five processors you already have in your DAW.

Let Me Tell You About the Most Important Processors You Need to Make Incredible Mixes:

  • EQ makes all your instruments fit together in the frequency spectrum, clears up the low-mid muddiness and gets your mix to sparkle.
  • Compression tightens up the sound of your mix, add punch to your instruments and keeps your dynamics steady. .
  • Reverb adds space around your tracks so that it sound three-dimensional and big instead of flat and boring.
  • Delay adds depth, effects and excitement to your song without cluttering up the track and making it sound washed out.
  • Saturation is your secret sweetener to bring out cool harmonic content in your instruments. It'll add warmth and thickness without adding boominess to your mix.

It's time for you to stop chasing the legendary pot of plug-ins at the end of the rainbow and learn a workflow that teaches you to create great sounding mixes using the plug-ins you already have.

You don't need to read boring manuals, waste time on forums or buy more gear to make your next mix sound fantastic.

I've already spent the time learning everything you need to know so I can give you the shortcuts you need to become a better mixing engineer in less time.

Learn a step by step process to create powerful and punchy mixes using the tools you already have in your DAW.

Announcing: “Mixing With 5 Plug-ins

Master the Five Processors You Need to Make Amazing Mixes

Learn exactly how to use these five plug-ins to transform your demos into professional sounding productions.​

  1. Mix a Song From Start to Finish: You'll transform a rough recording to a finished, professional mix using only the five most common plug-ins you will find in your DAW.
  2. Become a Master of EQ, Compression, Reverb, Delay and Saturation: You'll learn to create separation between your instruments; You'll know exactly how and when to use each type of compressor; You'll become a master of adding space with reverb and delay; and you'll master the different styles of saturation to make your mixes stand out.
  3. Take Your Knowledge and Level Up Your Mixes: After learning what each plug-in does you'll see how to use it in action, learning valuable techniques on how to use them to mix your own songs.

See what other engineers and musicians have said:

"I realized that all you need is basically only these 5 plug-ins"

"I found this course to be detailed, relevant, and very practical - and quite a bit of fun. Specifically, I found each of the feedback videos comprehensive and balanced, each of the tutorial videos were engaging and detailed, yet it was not "preachy" as "this is the only way to" I learned the difference between EQ'ing for balance and cohesion and EQ'ing for color and dimension. The visual component of seeing the specific instrument's frequency range really helps nail problem areas more efficiently. Also, this course has changed (and simplified) the way I set up a session. The idea is great. You explain a little bit of why you use the plugin and what the overall goal is. Then you do it"live and then explain what you have done. I realized that all you need is basically only these 5 plug-ins."

Ken Bauer Engineer

"I to deal with "bad" frequencies"

"I learned a lot from [the] mixing without plug-ins part. Making groups and dealing only with the volume knobs was nice preparation before the mix. The EQ part was very good because I learned some techniques on how to deal with "bad" frequencies."

Piotr Kaminski Engineer and Musician

"Overall, I really enjoyed the course. I think for me the most valuable thing was seeing your screen and watching your thought process visually. I have read mixing textbooks in the past and the information is simply too dense to be all that useful. In particular, the "Mixing with no plug-ins" video was extremely helpful. I realized that many of my major mixing woes were caused by poor organization and skipping over fundamentals. I've been mixing for a while as a hobby and in that time have picked up many bad habits, and this course definitely helped me re-learn the habits that make for better mixes. I really enjoyed the course. I personally didn't really want to use the song that you were mixing and instead opted for applying the techniques I learned from the videos to my own mix. I would certainly recommend this course to anyone who is starting out on their mixing journey as well as folks like me who have been mixing for a while but haven't learned good fundamentals. I probably wouldn't recommend it to someone looking for a "deep dive" into the art of mixing, because it covers the basics and doesn't go super-duper in depth, but overall I am very satisfied with my purchase. Thanks so much for doing what you do, Björgvin!"

Wyn Evans Engineer/Producer

Get Better Mixes That Sound Balanced and Punchy

Here's what you Get: 5 In-Depth Video Modules That Help You Make Awesome Mixes:

Module 1 - Getting a Great Balance and Static Mix

As soon as you sign up we get started with one of the most basic (but overlooked) lessons in mixing:

​Critical listening and knowing where you're taking the song before you ever start mixing it.

The first module is all about setting up and prepping your tracks for mixing.

  • ​Setting up a session for faster workflow so your mix is done sooner. If you want to use processing like bus compression effectively this is the prep work you need to follow.
  • Critical listening and pre-mixing session. Before even slapping on a plug-in, it's good to be familiar with all the little things you'll find in every performance. Bring those out first before you do anything else.
  • You'll learn to get a great balance to make a rough mix without using ANY plug-ins, in only 7 minutes.
  • Learn to use busses and groups to make your mixing easier (and faster) in the long run

Module 2 - Creating Separation in Your Mixes With EQ

After our initial balancing work we'll get into using EQ to make all the instruments fit together.

We'll cover subjects such as:

  • How to use filters effectively
  • Using bus EQ to save time and resources
  • Using EQ to bring out the best of the drums, bass, guitars, keyboards and vocals
  • Cutting muddiness, reducing boominess and adding presence to the mix
  • Using low-pass filters to tighten up guitars while still making them cut through
  • Using those unused middle frequencies to bring out the character of keyboards without masking other aspects of the mix
  • EQ'ing a dense vocal track so that the backup vocals don't overpower the lead vocals
  • Proper rebalancing after EQ'ing to keep each instrument in its place
  • Keeping the mid-range in check so you don't get boxy kick drums, honky guitars, muddy bass or nasally vocals. Take the guesswork out of EQ and follow along as I tell you exactly why I'm cutting and boosting each instrument.

Module 3 - Creating Punch and Tightness With Compression

After EQ'ing we'll put a compressor on every track and find the best setting for each instrument.

You'll learn tricks like:

  • Knowing how each button on your compressor affects your instruments
  • How the ratio can affect the punchiness of your drums
  • The importance of tweaking the attack and release to shape your sounds
  • Knowing when and why to use compression
  • Using presets to speed up your mixing (while still tweaking them for the best results)
  • Using serial compression when you need two different compressors to tackle different aspects of the vocal
  • Using different compressor styles for different sounds and character
  • Using parallel compression in your insert chain for faster processing
  • Rebalancing your EQ after compression to keep everything going smoothly. Compression alters the volume and loudness of each track so careful rebalancing is key to keeping your song consistent every time you add a new processor to the mix.

Module 4 - Adding Depth and Space With Reverb and Delay

If you only use EQ and compression you'll end up with a flat mix. Using reverb and delay is the key to giving your mixes depth without overpowering and cluttering up your mix.

You'll learn:

  • Explanation of all the settings on your reverb and delay
  • How room modes can affect the feel of your mix
  • The easy way to add an all-around reverb to instantly create space in your mix
  • What you should leave dry in the mix
  • How to use short and weird reverb settings to make bigger snares
  • The importance of correctly routing your drums for a more interesting drum sound
  • Using sends to place your instruments in the mix according to how much impact you want them to have
  • Separating acoustic and electric guitars with different reverbs based on what they're playing
  • Using modulated stereo delays to add depth to keyboards
  • Placing backup vocals behind the lead using reverb and delay
  • The incredibly important aspect of how and why to EQ your reverbs for a cleaner mix
  • Using separate reverbs for multiple instruments and how to blend them together in a mix
  • When to use mono instead of stereo delays

Module 5 - How to Add Sweetening With Saturation and Getting Your Mix to Translate to Other Systems

At the end we'll add some saturation to spice up your mixes.

  • Using tape saturation to make your mixes smoother
  • My step-by-step approach to deciding whether to use saturation on a track
  • How to saturate your kick drum to give your low-end more thickness and weight
  • Using multi-band saturation to give your snare drum more bite
  • Using parallel saturation to create subtle thickness and warmth
  • Adding tape emulation on acoustic guitars to bring them out in the mix
  • Using saturation for dirty up your keyboard patch to make it more interesting
  • Using multiple saturation plug-ins to find which one makes your tracks sound the best

In addition, we'll rebalance the whole mix, check our mix on multiple speakers and add some automation so that everything plays nicely together.

  • The importance of slight automation tweaks to bring out the best in each track
  • How to check your mixes on multiple systems and what to look out for so that they translate everywhere. I walk you through my process of checking the final mix on three different monitoring systems and the notes I take to make my mix sound the same on each one.
  • Problem solving a mix translation issue of guitars sounding like they have a blanket over them
  • Bringing the snare back into the mix when it sounds glued on top
  • Taking muddiness out of vocals with shelving EQ
  • Eliminating honkiness from an electric keyboard and making it sound smoother in the context of the mix
  • Making the mix sound exciting without excessive tweaks.
  • Facing the fear of perfection and deciding when to call it a day.

Plus: Free Bonuses From the Mixing Vault

Mixing Hard Rock With 5 Plug-ins

The Mixing With 5 Plug-ins course uses an folk rock track to teach you how to learn EQ, compression, reverb, delay, and saturation. In those videos you learn what all the buttons on those processors do and how to work them.

This video takes your teaching even further and applies the Mixing With 5 Plug-ins method to a hard rock track to teach you to create kick-ass rock mixes.

Here's What You'll Learn Inside: 

How to EQ your drum buss to get rid of weird resonances from your overhead tracks

How analog saturation adds just that tiny extra spice to your tracks

How to tame a snare drum that has too much “smack” to it

How to tame the harshness from your cymbals

Why you should add saturation before your other plug-ins to make your

kick drum sound better

Using multi-band compression on the kick drum to get thick lows without muddiness

Why asolo’d drum track is never a good gauge of whether your kick drum will cut through the mix

Side-chain compression techniques for guitars, vocals, and delays!

How to separate the bass and guitars by finding where they mask each other in the frequency spectrum

My go-to compressor for guitars and how much harder I slam them for rock than for folk

How to know when saturation is killing your tracks

How heavy pumping and saturation on synth lines can really bring your keys to life

How an EQ, a multi-band compressor, a parallel saturator and thick delay can create a cool vocal sound

When to use a plate pre-set for a snare-stretch reverb

How to use automation on your vocal delay to make the chorus bigger

My go-to drum reverbs to make any drum sound bigger without cluttering up the mix

Top 10 Vocal Effects Tricks and How to Use Them

This masterclass is a collection of ten different vocal production tricks I use in multiple different genres - folk, rock, and punk to name a few - that help me make the vocals stand out and sound more professional.

Whether you're looking for parallel processing tricks for larger vocals, cool slapback echoes, advanced double-tracking or aggressive megaphone effects, you'll learn them in here.

2-Part Advanced Mixing With 5 Plug-ins Videos

This 2-part tutorial and presentation takes the mixing with 5 plug-ins method even further, with tips and techniques not found in the core course.

Learn additional ways to make the vocals sit with the instruments, discover multiple approaches to re-amping your DI'd electric guitars, how to avoid harshness in your mixes and how to use mid/side EQ for vocals.

You'll parallel drum thickening techniques using EQ and compression, how to use parallel saturation and when to tighten up your drum groups with multi-band compression, among other things.

  • Using mid/side EQ for clear up the center of the mix and carve out a space for your vocals
  • Using specific EQ boosts in multiple guitar tracks to separate them and give them frequency space in the mix
  • Using an analyzer to EQ two clashing instruments better together in the mix
  • Parallel compression and drum thickening techniques using EQ and compression
  • When and why to use parallel saturation
  • Using multi-band compression on drum groups for tightening up the lows without squashing the highs
  • Using multiple order harmonics to get instruments to cut through the mix
  • Advanced Automation theory to create interest throughout your mix
  • Using short delays and EQ to get stereo imaging without stereo widening plug-ins
Practice Multi-tracks

The best way to learn to use your new skills is to practice on different types of multi-tracks with.

That's why Mixing With 5 Plug-ins comes with multiple multi-tracks, ranging from simple acoustic rock to orchestral pop.


Here are answers to some frequently asked questions:

How is Mixing With 5 Plug-ins delivered?

Do I need a specific DAW?

Can't I just Youtube this stuff?

What if I don't have time?

I've bought other tutorials, how is this one different?

Do I have to finish by a specific time?

Do I need any specific plug-ins?

What if I put in all this money and effort and my mixes still suck?

Is this for beginners or advanced engineers?

I only do [insert your genre here]. How will this course help me mix my genre of music?

"Thanks Björgvin for this experience"

I decided to watch the video step by step which is some kind of copying what has already been done but so I could follow each of the decisions in detail track by track - pausing the video, experimenting with sweeping etc. and do some tweaking here and there. I would strongly recommend this approach because I had some really strongs moments when I heard the first time what the problem at certain instruments and a special frequency really was. It's like a completely different hearing of a track. It's like you're not listening to the instrument anymore - you're listening for ringing and annoying disturbing noises that are in the background of an instrument - hard to explain but you will get there I'm sure... So thanks Björgvin for this experience.

Thomas Dash Engineer/Producer 


As always, everything I put out is backed by my 100% Money-Back-Guarantee.

If you are not satisfied with your purchase, let me know and I will happily refund your money, no questions asked. You can even keep the course for a full year while you decide.​

If you’re not happy, I’m not happy.

Start Making Better Mixes Right Now!

Mixing With 5 Plug-ins 

5 Part Course + Free Bonuses

Only $99

Instant Access

Mixing With 5 Plug-ins Plus

5 Part Course + Extra Training

Plus: EQ Strategies - The Ultimate Guide to EQ eBook and Video Series ($64 Value)

Plus: Recording and Mixing Strategies eBook and Video Vault. Includes two eBooks and 11 videos. ($83 Value)

Only $247 $197

Instant Access

Mixing With 5 Plug-ins Platinum

Everything Plus Custom Coaching Sessions

Only $499

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Check Out What Past Members Have Said:

"I think the results sound huge."

Mix is up - and this one was really a lot of fun. After rewatching parts of the video, I decided to take a simpler approach to avoid automation - just to see how it worked. I think the results sound huge. Overall, I mostly used the EMT Plate by UA; however, I did add a TAL Smooth Plate on the lead vox, and a beat synced delay (Metric Halo Dirty Delay) timed to 1/64 on the left, and 1/8 on the right, with some added drive for more gain. Seemed to thicken up. Hope you like it.

howard robach
Howard Rabach Mixing Engineer/Bass Player

I learned to simplify; up until now, when I would organize and setup a session in my DAW, I would create FX busses for every individual track, and separate sub-mixes for each group on top of the busses. So, for a drum kit, each piece would have it's own FX buss, all feeding to a buss for the entire kit (or most of it) that would then feed a single Drum kit submix; at the end I'd use these various submixes for mixing into my Master Buss. With this, I kept it simple, and followed the pattern from the video - combining more instruments to fewer busses in total. I think I still ended up with one or two more than the video, but that's a vast difference for me!

Robert Rubino Mixing Engineer

Having fun with this! I tend to make things complicated quickly, so I appreciate being forced to keep it simple. Thanks!

Mike Lingle Mixing Engineer

"Impressed by your fluent equalizations and how you tackle those jumping out loud frequencies."

I've often read about setting levels <<in context>> rather than in solo but never really got it. In this respect, I found this quite ear-opening.

Laurent K Musician 

"Björgvin, your ears are unbelievable!"

John Southard Musician 

Than you for sharing your experience to improve my work :)

Pedro Guzman Mixing Engineer

Ready to Create Amazing Mixes With Only 5 Plug-ins?

All you gotta do is click the pick button below and then pick your payment package.

Once you finish the checkout process you'll be emailed your log-in information to access the members area.

At that point the only thing left to do is to start making better mixes than you've ever made, using only the five plug-ins you already have in your DAW!

Start Your Mixing With 5 Plug-ins Course

"Looking forward to seeing you in there!”


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