Goal
Turn a static mix into one that follows the music: every section has its own balance, the vocal always stays understandable, the transitions have energy, and effects come in and out when needed. Automation is done after balance, EQ, dynamics, and space are stable; otherwise every later change makes it wrong.
Step-by-Step Procedure
1. Section Automation (Macro)
- Level of entire groups between verse, pre-chorus, chorus, bridge: typically ±0.5/±2 dB.
- Vocal: +0.5/+1.5 dB in the choruses if the backing is denser.
- Instruments coming in: ramps of 1–2 bars instead of jumps.
- Longer or louder reverbs in the choruses and endings, drier in the verses.
- Width: narrower verses, wider choruses.
2. Riding (Micro)
- Vocal word by word (see "Vocal Riding and Volume Automation"): ±1/±3 dB.
- Solos, bass, backing: where a note gets lost or sticks out.
3. Effects
- Throws of delay and reverb on the final words of phrases (send from −∞ to −10/−6 dB for the duration of the word).
- Filters: LP on the whole instrumental or on the drum bus before the drop (from 20 kHz to 300–800 Hz over 2–8 bars), HP on the breaks.
- Mutes and stops: a hit of silence of 1/8 or 1/4 before the chorus.
- Pitch, tape stop, stutter as transition effects (with Gross Beat in FL Studio).
4. Transitions
- Risers, sweeps, reverse cymbals, and impacts with automated levels (see "FX and Transitions").
- Temporary ducking of the backing on the drop impact.
5. Checking
- Listen to the whole song from beginning to end without stopping: the automation must feel natural.
- Check the sections' short-term values: the shape must be the intended one.
Tools in FL Studio
- Automation clips (right-click the parameter → Create automation clip) in the Playlist: curves with adjustable points and tensions.
- Automation recording by moving the fader or controller in real time.
- Event editor for precise automation tied to the pattern.
- Fruity Balance in the first slot to automate gain before compression; track fader for automation after the chain.
- Details in "Automation in the Mix (FL Studio)."
Target Values
| Check | Value |
|---|---|
| Chorus/verse short-term difference (pop, rock) | 2–5 LU |
| Drop/break short-term difference (electronic) | 3–6 LU |
| Variation of the vocal relative to the backing between sections | constant within 1–2 LU |
| Volume ramps | 10–50 ms (words), 1–2 bars (sections) |
| Delay throws | −10/−6 dB for a word or a syllable |
| Maximum mix bus peak in the loudest sections | −3 dBFS |
Common Mistakes
- Automating before the mix is stable: work to be redone.
- Step automation without a ramp: audible jumps.
- Too much effect automation: distraction, the song loses direction.
- Forgetting to automate the sends along with the track (reverbs stay high when the track goes down, or vice versa).
- Louder sections pushing the mix bus beyond −3 dBFS.
Starting settings
| Parameter | Value | Why |
|---|---|---|
| Section level | ±0.5/±2 dB | Shape of the song. |
| Vocal in the choruses | +0.5/+1.5 dB | Compensates for the dense backing. |
| Word riding | ±1/±3 dB, ramps 10–50 ms | Intelligibility. |
| Throw | Send −10/−6 dB for one word | Pinpoint depth. |
| Transition filters | 2–8 bars | Tension and release. |
| Mix bus peak | Maximum −3 dBFS | Headroom. |
Frequencies to watch
| Range | What to do |
|---|---|
| Full band | Automated LP on the transitions (from 20 kHz to 300–800 Hz): tension before the drop. |
| Below 150 Hz | Automated HP in the breaks: the bass returning at the drop gives impact. |
| 2–5 kHz | Vocal riding where words get lost, instead of adding EQ. |
Example chain
| Step | Tool | Settings | Why |
|---|---|---|---|
| Section automation | Automation clips on the buses | ±0.5/±2 dB | Shape. |
| Riding | Track faders / Vocal Rider | ±1/±3 dB | Word-by-word level. |
| Effects | Automated sends and plugins | Throws, filters, width | Interest. |
| Transitions | FX + Gross Beat | Risers, stops, stutters | Energy. |
| Checking | Full listen + short-term meter | Shape in LU | Consistency. |
How to check the result
- Maximum short-term of each section noted: chorus 2–5 LU above the verse (pop, rock), drop 3–6 LU above the break (electronic).
- Mix peak in the loudest sections no higher than −3 dBFS.
- Soloed vocal loudness per section: ratio to the instrumental constant within 1–2 LU.
- No sudden unintended level jump in the short-term graph (variations over 3 LU in under 1 s outside the transitions).