@Hytyma : hmm true, but when i analyze tracks from my "heroes", i always see the stereo image to be spread in a manner that's similiar from one to the other. i'm sure about not doing mono, buuut maybe starting mono then working on the stereo later on would be beneficial

Yeah cool dude. I didn't really mean that quite the way it was written. What I meant was, it's important to be able to hear everything pretty clearly with a Mono signal for a club track, because a lot of club systems are geared up that way (Mono). Stereo and panning for sure is still very important for those listening on headphone or at systems at home.

Maybe I wasn't the best person to answer your question, it's a difficult one haha!

I go for a run. Exercise is amazing for refreshing your head space.

I'll just echo pretty much what everyone else in here is saying. Give it time man. Like, seriously. It takes YEARS to get good at this craft.

Aim to learn something thoroughly before moving onto another topic (like compression, or using reverb for example). You will not learn everything there is to know about a particular topic all in a few days, it takes years of research, and most importantly experience, to get good at a chosen topic.

An experienced mentor could probably help. I know someone to guide me through the early stages of learning would have put me streaks ahead of where I am today, but then again, you have to go through the hard yards sometimes before success comes.

To put it simply - I've been making electronic beats for about 7+ years now, with very limited commercial success - and I've had plenty of those days where you hate yourself and what you do and every one and every thing and blah blah blah - BUT...overall, if you ENJOY what you do, and you do it for the LOVE of music, then all those years spent won't be a waste of time, but a fun learning experience - just like life itself.





However, if Mat wanted to do a collab or something, and just promote my career up a few notches, I wouldn't turn it down 

So I've been considering getting a SubPac. Anyone have experience with one?

I own the S2. It is an amazing piece of equipment the Subpac. You're able to accurately tell what notes are hitting where, and whether there are things in the low end of your mix that are clashing. So important for getting a tight low end.

Unless you have a properly treated or well-sized room, I'd actually highly recommend this over an actual subwoofer.

The objective of sending everything to a reverb bus to add 'glue' is really to make everything sound like it's been recorded in the same room.

I send everything at different levels to a reverb buss track, then move the overall volume of the reverb buss level up or down depending on how much overall 'room' sound I want to hear in my mix. There is an EQ after the reverb on this buss also that gets rid of the low end sound of the reverb, and some of the highs too.

It's a concept that works well for me. Just don't add too much room reverb on things like your Kick - it sounds a little weird IMO.

I cbf writing out the full way I go about approaching a mix...but, the most important thing I think is to start FRESH.

As in - you've taken at least a day or two away from the song, you've listened to a couple of other tracks you want your mix to sound similar to earlier in the day, and you haven't blasted the hell out of your ears with something loud af at any point earlier in the day

This depends on the club sound system, but I've generally found that a lot cut off around 40hz. So, in general I'd say that whatever your lowest note is, high pass up to there (within reason of course, remember you lowest note should still be audible to a degree).

The lowest I tend to play in my music is around the 35 - 40hz range, so I might high pass up around there for my kick or bass. Use a frequency analyzer if it helps, to actually visualize where things are hitting, and remember to make sure there is room for both kick and bass to breathe free in the mix

Could actually be a little beneficial in a way being deaf in one ear - makes everything mono then doesn't it! Useful for mixing clubs tracks, because everything should be able to be heard nicely in mono with that type of music.

Maybe if you're talking about panning... you could test it out by panning something to the ear that you use for hearing.  Then say "okay, I know that if the panning knob is turned to 65% and it sounds like this, assigning that value in the other direction will create the same effect on the other side."  Does that make sense?

Not being deaf in one ear, I can't say for sure that this would be the best way to do it - but it sounds like a logical way of going about things. That, and asking other producers for advice.