§07
High-pass every vocal
Cut below 80–120 Hz on every vocal track. You lose nothing you can hear in a voice, and you hand the entire low end back to the kick and the bass.
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THE METHOD
The MIXLAWS Method
A hundred numbered laws for mixing and mastering, in the order you apply them. Written, not rambled — each law is one page: the rule, why it is true, and the exact move on the channel.
Format: PDF, 100 laws, instant download
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Complete · 100 lawsVocals only · soon
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Three laws, unlocked
Ninety-seven stay in the book. Tap one to read it.
LAW 01🔒TAP TO UNLOCK
§01
You cannot mix a recording problem
Most of what you call a bad mix is a bad capture. Distance to the microphone changes more than any plugin will. Fix the take before you open a single insert.
LAW 02🔒TAP TO UNLOCK
§02
Record with headroom
Peaks around −12 dBFS, never near zero. There is nothing to gain from a hot recording and everything to lose: every processor after it behaves differently at the wrong input level.
LAW 03🔒TAP TO UNLOCK
§03
Clean before you colour
Filter, then subtractive EQ, then dynamics, then character. Reverse any two of those and you spend the rest of the session fighting a problem you created yourself.
If your mix sounds amateur, you're not missing a plugin. You're breaking a rule nobody told you about.
One law. Four lines. One move.
No two-hour video to scrub through. You look up the law, you read it in under a minute, you make the move. Next session you already know it.
100Numbered laws
5Chapters, in order
2Chains, slot by slot
Order beats gear.
The same two processors in the wrong order produce the opposite result. Half the method is sequence, not settings — which is why it holds in any DAW, with any plugins.
FILTEREQCOMP
DE-ESSSATSPACELIMIT
Three of the hundred
§23
Two compressors at 3 dB beat one at 6
The same gain reduction, split across two gentle stages. At 6 dB in one hit you hear the compressor working. At 3 dB twice you hear a voice that simply stays put.
§41
De-ess after compression, never before
Compression lifts sibilance along with everything else. De-ess first and the compressor puts every S straight back — then you push harder, and the vocal starts to lisp.
Five chapters. Two chains.
- I. Capture, gain and routing — §01–§25
- II. Equalisation — §26–§45
- III. Compression and dynamics — §46–§68
- IV. Colour, space and width — §69–§88
- V. The master — §89–§100
- + The vocal chain, ten slots, three variants
- + The master chain, eight slots
Frequently asked questions
Which DAW is this for?
All of them. The laws are about signal, not software — gain, order, ratio, curve. Nothing in the method depends on where you happen to be working.
Do I need specific plugins?
No. Every law names the processor — FET compressor, dynamic EQ, plate reverb — never the brand. The worked examples do name real plugins, so the settings are reproducible: CLA-76 into an LA-2A, Pro-Q 4 for a clean low end, Saturn 2 for colour. Every one of them has a stock equivalent in your DAW, and the book says so.
I'm a beginner. Is it too advanced?
The first twelve laws are about the microphone and the room — no mixing at all. If you can record a vocal and open a channel strip, start at §01.
What exactly do I download?
One PDF. A hundred numbered laws in five chapters, worked examples with real settings, and two complete chains — vocal and master — built slot by slot.
Refunds and licensing
Both are set out in the terms of sale, linked at checkout.
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MIXLAWS
Mixing and mastering, law by law.