Physics of sound

It is crucial to start by understanding how a sound wave works: what it consists of and how it changes under the influence of different plugins.
This is not dry textbook theory — everything is explained in simple words, with illustrations and real evidence from my own projects.

Basics

I will explain which programs are used for recording, mixing, and mastering music. I’ll talk about what stereo and mono are, how to manage the stereo field of instruments and when it really matters, as well as the signal flow. Much of what I teach comes from my own methods, tested over years on real projects. You’ll learn how to install plugins for processing instruments, what types of plugins exist, and what they are used for.

How to begin?

Before learning how to shape a sound wave, it’s important to properly organize your project. I’ll show you where to start with mixing so that you don’t run into problems with structure, clipping, or other issues during processing. In this section, I share my personal technique that will teach you how to truly listen to music while mixing. This will help you avoid mistakes and make precise decisions.

Dynamics

This is a broad topic that covers all the key processing methods affecting instrument dynamics — clippers, limiters, and compressors. Alongside theory, I demonstrate everything with my own examples and provide ready‑made templates to help you get started more easily. I explain the differences between various plugins, recommend effective combinations, and show the correct order of use.

Equalization

One of the most important topics is controlling the volume of specific frequency ranges of an instrument. This helps eliminate frequency conflicts, move an instrument closer or farther in the mix, highlight the warmth of vocals, or the clarity of cymbals. I will teach you how to work with frequencies, position instruments in space, set priorities, and provide a special table that will make it easier to navigate your own projects.

Space

Reverb and delay are among the key topics. I explain not only how physical space is structured and how to use reverb and delay to simulate different rooms, but also how to combine multiple reverbs, process them, and create an artificial room for drums and other instruments. At this stage, you will learn how to build a deep and spacious mix. Much of this information comes from my own methods, tested over years of practice.

Other processing methods

Several small but important topics include de‑esser, gate, expander, tonality, saturation, and more. I don’t just explain how they work — I also show concrete examples of how to control them to achieve the desired sound. Some usage scenarios may seem unusual, but they are truly effective.

Monitoring methods

A key skill for a sound engineer and mixing engineer is the ability to truly listen to music. It’s important to know how to properly compare your track with others, which devices to use, at what volume to work, and more. This section will help you not only monitor sound effectively but also save significant money on purchasing expensive equipment.

Mastering

The final stage before uploading a track to platforms is mastering. At this stage, I will teach you how to create a loud, dense, and wide mix. You will learn what the average loudness of a track should be, how much headroom to leave to avoid distortion and overload, and I will show you several different approaches to mastering — both before mixing and after it.

Project breakdowns 

An important stage of learning is showing how I mix my projects from start to finish. Here you will get a detailed explanation of every step, learn about common mistakes that may occur along the way, and discover methods to overcome them.

Philosophy

For me, mixing and mastering are not mechanical tasks. They are a philosophy that must be understood and felt. There is room here for creativity, unconventional approaches, and experimentation. Throughout the training, I will teach you to engage in an inner dialogue with yourself: What do I want from this instrument? Should it be in the foreground? Does the synthesizer play an important role here, or should it be made as spacious as possible and pushed into the background?