Mixing With The Masters
Andy Wallace is famous for his aggressive, stadium-sized drums. But his secret isn't compression—it's tuning. In his MWTM session, he demonstrates that he often tunes the kick drum fundamental to match the key of the song’s bass note. If the song is in E, the kick has a resonant spike at 41Hz (E1). This requires surgical EQ or drum replacement, but the result is a bass and kick that feel "glued" without competing.
1. Unparalleled Access and Credibility This is the biggest selling point. You aren't learning "how to compress a kick drum" in a generic sense; you are watching Andrew Scheps explain why he compressed the kick drum on a Red Hot Chili Peppers track. The insight into the psychology and decision-making process of A-list engineers is priceless.
2. Focus on Philosophy over Presets Beginners often look for "magic settings" (e.g., "set your attack to 10ms"). MWTM avoids this. Instead, the masters focus on listening and context. They teach you how to think about a mix, how to manage low end, and how to create emotion, rather than just which plugin to use.
3. High Production Value The video and audio quality are excellent. The interface is clean, and the "inside the studio" vibe feels inspiring rather than sterile. mixing with the masters
4. The "Masterclasses" vs. "Quest" Series They offer different formats.
Serban Ghenea is famous for mixing almost entirely with faders. In his Mixing with the Masters session, he demonstrates that EQ and compression are often just tools to make the fader work better. He will spend 10 minutes riding the volume of a backing vocal syllable-by-syllable before he touches a compressor. Lesson: Automation is the most powerful effect in your DAW, and these masters prove it constantly.
When mixing vocals for RnB or Pop, Maserati avoids the standard chorus or flanger. Instead, on his MWTM "Processing Vocals" breakdown, he uses a combination of a short delay (15ms) and a pitch shifter detuned by -9 cents mixed in parallel at 50%. This creates a "pillowy" depth that sounds expensive rather than wobbly. Andy Wallace is famous for his aggressive, stadium-sized
If you've ever spent hours trying to make your kick drum punch through a mix or wondered how your favorite records sound so wide, deep, and balanced, you've probably asked yourself one question:
"How do the pros do it?"
Enter Mixing with the Masters — a platform and philosophy that opens the door to exactly that knowledge.
You have a solo button. The masters rarely use it. Chris Lord-Alge famously said in his MWTM interview: "Solo is the devil." When you watch the series, you see them make EQ cuts that sound thin in solo, but in the full mix, those cuts allow the bass and the kick to hold hands. Lesson: Stop mixing in solo. MWTM trains your brain to listen to the relationship between sounds, not the sounds themselves. If the song is in E, the kick
The masters do not mix with their eyes. They mix with their gut.
When you load up a session, you are staring at waveforms—blue lines on a grid. The master looks at that grid and sees a live band playing at 2 AM in a sweaty club. They hear the singer’s breath crack. They feel the drummer’s flam.
To truly mix with the masters, you must stop asking "What frequency is this?" and start asking "How does this hit the chest?"
Turn off the spectrum analyzer. Close the session notes. Pull up the reference track. Close your eyes. Listen to the space between the bass and the kick. Listen to the air around the cymbals.
