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Practical, visual guides to mixing, EQ, compression, sound design and arrangement. Each guide pairs concrete settings with an interactive visualizer. Open any topic in Cue to apply it to your own track.

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EQCompressionReverbDelaySaturationSynth designMIDIArrangementSongwritingMixing
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501005001k5k10k+12+60-6-12
EQ
How to clean up the low end with EQ
Muddy low end is almost always a stacking problem — too many sources making sound between 100-300 Hz at the same time.
Updated 2026-05-19
501005001k5k10k+12+60-6-12
EQ
How to de-ess a vocal with EQ and dynamic EQ
Sibilance (S and SH consonants) usually peaks between 5-9 kHz, often around 6-8 kHz on female vocals and 4-6 kHz on male.
Updated 2026-05-19
THRESHOLD -16 dB -60-48-36-24-120-60-48-36-24-120INPUT (dB) →OUTPUT Ratio 3:1Attack 5 msRelease 100 ms
Compression
How to use multiband compression
Multiband compression splits a signal into 3-4 frequency bands and compresses each one separately.
Updated 2026-05-19
-60-48-36-24-120-60-48-36-24-120INPUT (dB) →OUTPUT Ratio 1:1Attack 1 msRelease 120 ms
Compression
How to sidechain compress the bass against the kick (EDM)
EDM sidechain is the kick triggering a compressor on the bass so the two never fight for the low end.
Updated 2026-05-19
PREDELAY 40 ms 0ms960ms1.9s2.9s3.8s4.8s1.00.50TIME → Decay 3.2 sSize 90 %Mix 32 %Type reverb
Reverb
How to use hall reverb on strings and orchestral sounds
Hall reverb is the standard for orchestral instruments — strings, brass, woodwinds, and full ensemble libraries.
Updated 2026-05-19
PREDELAY 25 ms 0ms600ms1.2s1.8s2.4s3.0s1.00.50TIME → Decay 2 sSize 70 %Mix 22 %Type reverb
Reverb
How to use a plate reverb on vocals
Plate reverb is the most-used reverb type for lead vocals because it's bright, dense from the first millisecond, and sits forward in the mix without making the vocal feel distant.
Updated 2026-05-19
0ms600ms1.2s1.8s2.4s3.0s1/8. • 375ms1.00TIME → Time 1/8. (375ms)Feedback 35 %Mix 22 %
Delay
How to use a ping-pong delay
Ping-pong delay sends repeats alternating between the left and right speakers.
Updated 2026-05-19
0ms600ms1.2s1.8s2.4s3.0s1/8. • 375ms1.00TIME → Time 1/8. (375ms)Feedback 42 %Mix 28 %
Delay
How to use tape delay
Tape delay simulates the classic Echoplex / Space Echo sound — each repeat gets darker, slightly detuned, and more saturated than the one before.
Updated 2026-05-19
-1-0.500.51-1-0.500.51INPUT →OUTPUT Mode tapeDrive 20 %Mix 100 %
Saturation
How to use tape saturation on the master bus
Tape saturation on the master bus adds harmonic richness, glues the mix together, and softens harsh transients.
Updated 2026-05-19
OSC · TRIANGLE FILTER · LOWPASS 1001k10k ENVELOPE ADSR
Synth design
How to design a pluck synth (tropical, future bass, deep house)
A pluck synth fakes a plucked-string sound through synthesis — fast attack, short decay, zero sustain, slight pitch envelope.
Updated 2026-05-19
OSC · SAW FILTER · LOWPASS 1001k10k ENVELOPE ADSR
Synth design
How to design a supersaw lead synth
A supersaw is the iconic huge trance/EDM lead — originally a single oscillator on the Roland JP-8000 that stacked 7 detuned saws into one massive sound.
Updated 2026-05-19
06412712345VELBEAT → Pattern accented
MIDI
How to program a chord progression in your DAW
A chord progression is a sequence of chords that establishes the harmonic motion of a song.
Updated 2026-05-19
06412712345VELBEAT → Pattern accented
MIDI
How to humanize MIDI velocity for realistic drums and keys
Robotic-sounding MIDI is usually a velocity problem — every note triggers the same sample at the same volume.
Updated 2026-05-19
Verse 116 barsPre-chorus8 barsChorus16 barsVerse 216 barsPre-chorus8 barsChorus16 bars 050100ENERGY Total 80 bars
Arrangement
How to make a chorus hit harder
A chorus hits hard because of what comes before it, not just because of what's in it.
Updated 2026-05-19
Intro8 barsVerse 116 barsPre-chorus8 barsChorus16 barsVerse 216 barsChorus16 bars 050100ENERGY Total 80 bars
Arrangement
How to write a song intro that pulls listeners in
A pop intro is usually 8 or 16 bars.
Updated 2026-05-19
AmMINORACE2 barsFMAJORFAC2 barsCMAJORCEG2 barsGMAJORGBD2 bars Key A minorScale minorBPM 120
Songwriting
How to write a major-key chord progression
Major-key chord progressions feel bright, uplifting, and harmonically clear.
Updated 2026-05-19
AmMINORACE2 barsFMAJORFAC2 barsCMAJORCEG2 barsGMAJORGBD2 bars Key A minorScale minorBPM 120
Songwriting
How to write a hook that listeners remember
A hook is the most-repeated, most-memorable element of a song — usually a 4-8 bar melodic phrase that returns multiple times.
Updated 2026-05-19
Kick · 60Hz Bass · 80Hz 501005001k5k10kLEVEL Kick 60HzBass 80HzFix see article
Mixing
How to gain stage a mix from track to master
Gain staging is the practice of setting consistent, healthy levels at every stage of your signal chain — track inputs, busses, master.
Updated 2026-05-19
Kick · 60Hz Bass · 80Hz 501005001k5k10kLEVEL Kick 60HzBass 80HzFix see article
Mixing
How to use mid/side EQ for stereo control
Mid/side EQ splits a stereo signal into two channels — the mid (mono summing of L+R) and the sides (the difference between L and R).
Updated 2026-05-19
Kick · 60Hz Bass · 80Hz 501005001k5k10kLEVEL Kick 60HzBass 80HzFix see article
Mixing
How to use stereo width in a mix without losing mono compatibility
Stereo width makes a mix feel big and three-dimensional, but bad width choices collapse the mix to mono playback (Bluetooth speakers, phones, restaurant systems).
Updated 2026-05-19
Sub Mud cut Bite 501005001k5k10k+12+60-6-12
EQ
How to EQ an 808 bass
For most 808 basses, high-pass at 25Hz to clean inaudible rumble, leave 50Hz untouched (that's the sub), cut 2dB at 250Hz to remove low-mid mud, and add a small 1–2dB lift at 1.
Updated 2026-05-03
Boom Box Pick Air 501005001k5k10k+12+60-6-12
EQ
How to EQ an acoustic guitar
For most acoustic guitars, high-pass at 100Hz, cut 3dB at 200Hz to remove low-end boom, dip 1.
Updated 2026-05-03
Body Mud Growl Attack 501005001k5k10k+12+60-6-12
EQ
How to EQ a bass guitar
For most bass guitars, high-pass at 40Hz, boost 2dB at 80Hz for body, cut 2dB at 300Hz to clear mud, lift 1.
Updated 2026-05-03
Weight Mud Sparkle 501005001k5k10k+12+60-6-12
EQ
How to EQ a drum bus
On the drum bus, work in small moves: high-pass at 30Hz, lift 1.
Updated 2026-05-03
Mud Honk Presence 501005001k5k10k+12+60-6-12
EQ
How to EQ an electric guitar
For most electric guitars, high-pass at 100Hz, cut 2dB at 400Hz to remove mud, dip 2dB at 2.
Updated 2026-05-03
Clank Sparkle Air 501005001k5k10k+12+60-6-12
EQ
How to EQ hi-hats
For most hi-hats, high-pass aggressively at 400Hz, cut 2dB at 1kHz to remove clank, and add 1.
Updated 2026-05-03
Weight Mud Air 501005001k5k10k+12+60-6-12
EQ
How to EQ the master bus
Master bus EQ is about polish, not problem-solving.
Updated 2026-05-03
Mud Box Hammer Air 501005001k5k10k+12+60-6-12
EQ
How to EQ a piano
For most pianos, high-pass at 50Hz, cut 2dB at 250Hz to remove low-mid mud, dip 1.
Updated 2026-05-03
Body Boxy Crack 501005001k5k10k+12+60-6-12
EQ
How to EQ a snare drum
For most snares, high-pass at 100Hz to clean rumble, boost 3dB at 200Hz for body, cut 2dB at 500Hz to remove boxiness, and add 2–3dB at 5kHz for crack.
Updated 2026-05-03
Mud Harsh Air 501005001k5k10k+12+60-6-12
EQ
How to EQ vocals
For most vocals, high-pass at 80Hz to remove rumble, cut 2–3dB at 250Hz to clear mud, dip 2dB at 3kHz to tame harshness, and add a 2–3dB shelf above 10kHz for air.
Updated 2026-05-03
THRESHOLD -16 dB -60-48-36-24-120-60-48-36-24-120INPUT (dB) →OUTPUT Ratio 3:1Attack 15 msRelease 100 ms
Compression
How to compress an acoustic guitar
For most acoustic guitars, set threshold around −16dB, ratio 3:1, attack 15ms, release 100ms.
Updated 2026-05-03
THRESHOLD -14 dB -60-48-36-24-120-60-48-36-24-120INPUT (dB) →OUTPUT Ratio 4:1Attack 20 msRelease 120 ms
Compression
How to compress a bass
For most bass instruments, set threshold around −14dB, ratio 4:1, attack 20ms, release 120ms.
Updated 2026-05-03
THRESHOLD -8 dB -60-48-36-24-120-60-48-36-24-120INPUT (dB) →OUTPUT Ratio 4:1Attack 30 msRelease 80 ms
Compression
How to compress a drum bus
On the drum bus, slow attack and auto release: threshold around −8dB, ratio 4:1, attack 30ms, release auto.
Updated 2026-05-03
THRESHOLD -2 dB -60-48-36-24-120-60-48-36-24-120INPUT (dB) →OUTPUT Ratio 2:1Attack 30 msRelease 80 ms
Compression
How to compress the master bus
On the master bus, gentle and slow: threshold around −2dB below your loudest peaks, ratio 2:1, attack 30ms, release auto.
Updated 2026-05-03
THRESHOLD -24 dB -60-48-36-24-120-60-48-36-24-120INPUT (dB) →OUTPUT Ratio 10:1Attack 1 msRelease 50 ms
Compression
Parallel compression explained
Parallel compression is when you send a signal to a duplicate bus, crush it heavily (ratio 10:1, threshold −24dB, fast attack, fast release), then blend it underneath the original.
Updated 2026-05-03
THRESHOLD -10 dB -60-48-36-24-120-60-48-36-24-120INPUT (dB) →OUTPUT Ratio 4:1Attack 15 msRelease 100 ms
Compression
How to compress a snare drum
For most snares, set threshold around −10dB, ratio 4:1, attack 15ms, release 100ms.
Updated 2026-05-03
THRESHOLD -18 dB -60-48-36-24-120-60-48-36-24-120INPUT (dB) →OUTPUT Ratio 3:1Attack 10 msRelease 80 ms
Compression
How to compress vocals
For most vocals, set threshold around −18dB, ratio 3:1, attack 10ms, release 80ms.
Updated 2026-05-03
PREDELAY 10 ms 0ms300ms600ms900ms1.2s1.5s1.00.50TIME → Decay 0.8 sSize 40 %Mix 15 %Type reverb
Reverb
How to add reverb to drums
For most drum kits, a short room reverb with 0.
Updated 2026-05-03
-1-0.500.51-1-0.500.51INPUT →OUTPUT Mode tubeDrive 20 %Mix 40 %
Saturation
How to saturate vocals
On vocals, tube saturation at 15–25% drive with a parallel mix around 40% adds harmonic warmth and presence without distortion.
Updated 2026-05-03
OSC · SAW FILTER · LOWPASS 1001k10k ENVELOPE ADSR
Synth design
How to design a lead synth
A lead synth that cuts through a mix uses a saw oscillator with light unison detune, a lowpass filter with envelope modulation for movement, and a snappy ADSR with short decay.
Updated 2026-05-03
Thump Mud cut Click 501005001k5k10k+12+60-6-12
EQ
How to EQ a kick drum
For most kick drums, high-pass at 30Hz to remove sub-rumble, boost 3–5dB at 60Hz for thump, cut 2–3dB around 300Hz to clear mud, and add a small 2dB lift at 4kHz if you want more click.
Updated 2026-05-02
THRESHOLD -12 dB -60-48-36-24-120-60-48-36-24-120INPUT (dB) →OUTPUT Ratio 4:1Attack 5 msRelease 60 ms
Compression
How to compress a kick drum
For most kick drums, set threshold around −12dB, ratio 4:1, attack 5ms, release 60ms.
Updated 2026-05-02
PREDELAY 20 ms 0ms540ms1.1s1.6s2.2s2.7s1.00.50TIME → Decay 1.8 sSize 70 %Mix 25 %Type reverb
Reverb
How to add reverb to vocals
For most pop and electronic vocals, a plate reverb with 1.
Updated 2026-05-02
0ms300ms600ms900ms1.2s1.5s1/8 • 187ms1.00TIME → Time 1/8 (187ms)Feedback 35 %Mix 25 %Mode ping-pong
Delay
How to use delay on vocals
For most modern vocals, set delay to 1/8 note (or 1/4 dotted), 30–40% feedback, 20–30% mix, and use stereo or ping-pong mode.
Updated 2026-05-02
-1-0.500.51-1-0.500.51INPUT →OUTPUT Mode tapeDrive 30 %Mix 50 %
Saturation
How to saturate a drum bus
On a drum bus, tape saturation at 25–35% drive with a parallel mix around 50% adds glue and analog warmth without losing transients.
Updated 2026-05-02
OSC · SINE FILTER · LOWPASS 1001k10k ENVELOPE ADSR
Synth design
How to design a sub bass
A clean sub bass is a sine oscillator at the root note an octave or two below your bassline, with a short decay and lowpass filter to remove any harmonics.
Updated 2026-05-02
06412712345VELBEAT → Pattern accentedHumanize 20 %BPM 128
MIDI
How to program hi-hat velocity for groove
Hi-hats sound mechanical when every note is the same velocity.
Updated 2026-05-02
Intro8 barsVerse16 barsBuild8 barsDrop16 barsBreak8 barsDrop 216 barsOutro8 bars 050100ENERGY Classic drop structureBPM 128Total 80 bars
Arrangement
How to structure a drop arrangement
A standard drop track uses 7 sections across roughly 80 bars: intro, verse, build, drop, break, second drop, outro.
Updated 2026-05-02
AmMINORACE2 barsFMAJORFAC2 barsCMAJORCEG2 barsGMAJORGBD2 bars Key A minorScale minorBPM 120
Songwriting
How to write a minor chord progression
vi-IV-I-V (Am-F-C-G in A minor) is the most-used progression in modern pop and electronic music for a reason: it sits in minor (sad/serious feel) but resolves outward, creating motion.
Updated 2026-05-02
Kick · 60Hz Bass · 80Hz 501005001k5k10kLEVEL Kick 60HzBass 80HzFix see article
Mixing
How to fix kick and bass frequency clash
Kick and bass usually clash between 60–100 Hz.
Updated 2026-05-02