Mix your music with that classic ’60s soul sound

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To mix your music with that classic ’60s soul sound, you’ll want to focus on warmth, saturation, and a vintage-style mix approach. Here’s a step-by-step guide:

1. Start with the Right Sounds

Before mixing, make sure your arrangement and recording style match the era. Classic soul often features:

  • Live drums with a warm, roomy sound

  • Bass guitar with a smooth, rounded tone

  • Horn sections (trumpet, sax, trombone)

  • Rhodes, Wurlitzer, or Hammond organ

  • Clean electric guitar with spring reverb

  • Rich lead vocals with strong dynamics

  • Background harmonies or call-and-response vocals

2. Use Vintage EQ Techniques

  • Pultec-style EQ (or analog emulations) to boost lows and add silky highs.

  • Cut some midrange (400Hz–800Hz) for clarity.

  • Boost highs (10kHz–12kHz) carefully for that classic “air” without making it too modern.

3. Get That Warm, Analog Compression

  • Vocals: Use an Opto or FET compressor (like an LA-2A or 1176) to control dynamics smoothly.

  • Drums: Parallel compression helps keep drums punchy but not overpowering. Try a Fairchild 660/670 emulation for warmth.

  • Bass: A tube compressor like a Fairchild or LA-2A works well.

  • Overall Mix: A tape-style compressor on the mix bus can add glue and warmth.

4. Reverb & Delay for Depth

  • Spring reverb on guitar and organ (plate reverb for vocals).

  • Short room reverb on drums to mimic classic studio rooms.

  • Tape slap delay (80ms–120ms) for vocals, giving it an old-school feel.

5. Saturation & Tape Emulation

  • Use tape emulation plugins (like Waves J37, UAD Studer A800, or Softube Tape) to add warmth.

  • Try tube saturation on vocals and drums to give them a subtle grit.

6. Panning & Stereo Imaging

  • Many ’60s soul tracks had extreme panning:

    • Drums slightly off-center

    • Bass in the center

    • Horns hard-panned

    • Guitar and organ spread wide

    • Background vocals in one channel

  • Experiment with narrowing the stereo field slightly to get a more vintage feel.

7. Final Touches & Mastering

  • Use gentle tape saturation on the master bus.

  • Keep dynamic range relatively open (don’t over-compress).

  • Consider light analog EQ in mastering for final warmth.

  • Roll off some super highs (above 14kHz) to avoid a too-modern sound.

Here are some plugin recommendations to help you achieve that warm, vintage ’60s soul sound:

1. EQ (Analog-Style)

  • UAD Pultec EQP-1A (or Waves PuigTec EQP-1A / IK Multimedia EQP-1A) – Classic tube-style EQ for warm lows and silky highs.

  • FabFilter Pro-Q 3 – If you need precise cuts while keeping a natural sound.

  • Soundtoys Sie-Q – A smooth, vintage-style EQ with musical curves.

2. Compression (Warm, Analog Feel)

  • UAD LA-2A / Waves CLA-2A – For smooth vocal and bass compression.

  • UAD 1176 / Waves CLA-76 – Fast attack for punchy drums and vocals.

  • IK Multimedia Fairchild 670 / Waves PuigChild 670 – For mix bus warmth.

  • Arturia Comp TUBE-STA – A tube compressor that adds vintage character.

3. Tape & Saturation (Vintage Warmth)

  • Waves J37 Tape – Modeled after Abbey Road’s classic tape machine.

  • UAD Studer A800 – Another great tape machine emulation.

  • Softube Tape – Great for adding warmth and saturation.

  • Soundtoys Decapitator – For subtle to heavy saturation.

  • Kazrog True Iron – Adds transformer-style saturation for warmth.

4. Reverb & Delay (Classic Depth)

  • UAD EMT 140 / Soundtoys Little Plate – Classic plate reverb for vocals.

  • Spring Age by Overloud – Excellent spring reverb for guitar and organ.

  • Waves H-Delay – Great for tape slapback delay on vocals.

  • Soundtoys EchoBoy – Can emulate vintage tape delay.

5. Stereo & Mix Bus Processing

  • Waves Abbey Road Vinyl – Adds subtle analog warmth.

  • UAD Ampex ATR-102 – A classic mastering tape machine.

  • Goodhertz Vulf Compressor – Inspired by vintage soul and funk records.

  • Brainworx bx_masterdesk – Analog-style final mix processing.

Here’s a breakdown of how to use these plugins to mix your song like a ’60s soul record:

1. Drums: Warm & Punchy, But Natural

Goal: Get a roomy, live sound with controlled dynamics.

Kick & Snare

  • EQ: Use Pultec EQP-1A or FabFilter Pro-Q 3

    • Boost 60Hz–100Hz slightly for a warm low-end.

    • Cut 300Hz–500Hz to reduce muddiness.

    • Add a touch at 5kHz–8kHz for presence.

  • Compression: Use 1176 (CLA-76 or UAD 1176 Rev A)

    • Attack: Fast (but not all the way)

    • Release: Medium-fast

    • Ratio: 4:1

    • Gain Reduction: 3–6dB

  • Reverb: Add a short plate (EMT 140) or room verb for space.

  • Tape Saturation: Use Waves J37 or Softube Tape to warm it up.

Hi-Hats & Overheads

  • Roll off low frequencies below 150Hz to keep them clean.

  • Add spring or plate reverb to make them blend into the room.

Parallel Compression (For Fatness)

  • Duplicate the drum bus and heavily compress it with Fairchild 670 or UAD 1176

  • Blend it back under the original track.

2. Bass: Smooth & Round

Goal: Thick, but not overpowering, sitting tight with the kick.

  • EQ: Use Pultec EQP-1A

    • Boost 60Hz–100Hz for warmth.

    • Slightly attenuate 250Hz if muddy.

  • Compression: Use LA-2A (Waves CLA-2A or UAD LA-2A)

    • Slow attack & release for smooth leveling.

    • Gain reduction: 3–5dB.

  • Tape Saturation: Add Waves J37 for a warm, old-school feel.

3. Vocals: Rich, Warm, & Present

Goal: A thick, dynamic vocal that sits forward in the mix.

  • EQ: Use Pultec EQP-1A or FabFilter Pro-Q 3

    • Roll off below 100Hz to clean up the low end.

    • Boost 3kHz–5kHz for presence.

    • Slightly boost 12kHz for air.

  • Compression: Use LA-2A or 1176

    • LA-2A for smooth, warm leveling.

    • 1176 (fast attack, fast release) for more upfront energy.

  • Saturation: Use Soundtoys Decapitator (low drive, “E” style) to add warmth.

  • Reverb: Use EMT 140 (plate) for classic depth.

    • Decay time: 1.5–2.5 sec.

    • Pre-delay: 20–50ms to keep it from muddying the vocal.

  • Delay: Use Waves H-Delay (set to 80–120ms, 20–30% wet) for a vintage slapback effect.

4. Guitars: Clean & Bright with Spring Reverb

Goal: Vintage, twangy, or mellow depending on the track.

  • EQ:

    • Boost 2kHz–5kHz for clarity.

    • Roll off below 100Hz to avoid mud.

  • Compression: Use 1176 (light, just to control peaks).

  • Reverb: Use Spring Age by Overloud for a classic amp sound.

  • Tape Saturation: Use Softube Tape for analog warmth.

5. Horns: Punchy & Bright

Goal: Bold, but not harsh.

  • EQ: Use Pultec EQP-1A

    • Boost 1kHz–3kHz for bite.

    • Roll off below 100Hz to clear up the mix.

  • Compression: Use Fairchild 670

    • Light compression (2–4dB gain reduction).

  • Reverb: Plate or small hall reverb (EMT 140).

6. Organ/Rhodes: Warm & Textured

  • EQ: Cut some midrange (300Hz–500Hz) if clashing with vocals.

  • Reverb: Small plate or room.

  • Saturation: Light Soundtoys Decapitator for warmth.

7. Master Bus Processing: Glue Everything Together

  • Tape Saturation: UAD Ampex ATR-102 or Waves J37 (light setting).

  • Compression: Fairchild 670 or UAD SSL G-Bus Compressor

    • Ratio: 2:1

    • Gain Reduction: 1–3dB

    • Attack: Slow (to keep transients)

    • Release: Medium-fast (for groove).

  • EQ:

    • Boost 60Hz slightly for warmth.

    • Add a small lift at 12kHz for air.

Panning & Stereo Tricks

  • Drums: Slightly off-center for a vintage feel.

  • Bass: Dead center.

  • Vocals: Center (background vocals hard-panned L/R).

  • Guitar/Organ: Spread wide but not too modern-sounding.

  • Horns: Panned slightly to one side.

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