How does Scheps use a template without being rigid?
He maintains a changing template and routine—color-coding and track ordering—that he tweaks monthly; the template handles organizational tasks so he can focus on one-off creative choices.
Video Summary
Andrew Scheps Reveals His Mix Process
Main takeaways
01
Use a flexible template and routine to free up creative decisions.
02
Prioritize session organization (color-coding, track order) over meter-driven gain staging.
03
Start building mixes with drums so they act like one instrument; add vocals last.
04
Rely on VCA faders and listening, not strict meter targets, to set levels.
05
Avoid soloing tracks—always make decisions in the context of the full mix.
Key moments
Questions answered
Why doesn't Scheps follow strict gain staging based on meters?
He prefers to set levels by ear using multiple VCA faders and intuition, arguing meters can interrupt creative flow and that perceived level and feel matter more than fixed numeric targets.
What element does Scheps usually mix first and why?
He starts with drums because they often comprise many tracks that need to function as one cohesive instrument before adding other elements.
Why does Scheps add vocals last, and how does that affect mixing?
Vocals are the most important element, so he builds the instrumental context first; adding vocals last lets him tweak the mix so the vocals sit correctly without over-focusing on instrumental details.
What common mixing practice does Scheps warn against?
He advises against soloing every track during mixing, recommending you make adjustments in the context of the full mix to avoid unnecessary or destructive edits.
Creative Process and Routine in Mixing 00:02
"Part of being creative is having a routine."
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Andrew Scheps emphasizes the importance of having a structured approach when mixing, which he refers to as a template. This template is not rigid; instead, it changes regularly based on his evolving preferences or ideas.
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He balances routine tasks, like color-coding tracks, with spontaneity. The familiarity gained from these routines allows him to dive into creative aspects of the mix without getting bogged down by organizational issues.
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Even though he considers every mix decision to be unique, all of it is grounded in a foundation he has built over time.
Session Organization and Gain Staging 01:31
"I never gain stage like… I'm not looking at meters to set things up that way at all."
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Scheps discusses his approach to session prep, highlighting the importance of organization before starting the actual mixing. He does not rigidly adhere to gain staging techniques; instead, he utilizes multiple VCA faders to adjust levels intuitively during the mix.
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He argues that paying attention to meters can be counterproductive, as one should focus more on how it feels sonically rather than strictly adhering to numerical values, which can inhibit creativity.
Building the Mix: Track Order and Vocal Placement 02:20
"I will invariably start with drums because it's usually the most tracks and I need it to act like one instrument."
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Scheps typically begins the mixing process by focusing on drums, as they often involve multiple tracks that need to work cohesively. He acknowledges that the last element added to the mix is usually the vocals, which he considers to be the most critical part.
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By prioritizing instrumental elements first, he ensures that the vocals can shine once they're added and that the overall mix is structured effectively.
Flexibility in Mixing Process 03:39
"99% of the time you should just be reacting to what you hear. Don't do stuff because you think you're supposed to."
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Scheps believes flexibility is crucial in mixing. He doesn't adhere strictly to one process; instead, he adapts to what each song requires based on his creative evaluation.
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He frequently works on multiple songs simultaneously, switching between them according to his interest or inspiration, which contrasts with a linear approach to mixing one song at a time.
Avoid Common Mixing Pitfalls 05:45
"The thing I would advise you against doing is soloing up every track and working on it."
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Scheps cautions against the common practice of soloing individual tracks for mixing. Instead, he insists on hearing elements in the context of the full mix to avoid unnecessary adjustments that could detract from the overall sound.
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He mentions that problems in the mix will become apparent during the mixing process, and it's crucial to address issues as they arise rather than seeking out potential problems in isolation.