Character of the mix
G-funk (Los Angeles, early 1990s) has slow (85–100 BPM), heavy drums, round and melodic synth basses (Minimoog or similar), high synth leads with portamento (the “whistle”), funk samples or interpolations (Parliament, Zapp), talk box, soul backing vocals. The modern West Coast sound (Mustard, DJ Quik, recent productions) keeps the synth basses, dry claps, bouncy grooves, and ample space for the rap vocal.
Typical balance
| Element | Level relative to the mix |
|---|
| Rap vocals | −4/−6 LU |
| Synth bass | −5/−7 LU |
| Kick | −8/−10 LU |
| Snare/clap | −7/−9 LU |
| Synth lead (whistle) | −10/−13 LU |
| Talk box, backing vocals | −9/−12 LU |
EQ
- Synth bass: 50–100 Hz round, harmonics 300–800 Hz for definition, LP 2–4 kHz; mono.
- Kick: 50–80 Hz, light click; separated from the bass with sidechain or complementary EQ.
- Clap/snare: body 200 Hz, crack 2–5 kHz, dry (modern) or with reverb (1990s).
- Whistle lead: sine or close to it with portamento, 1–3 kHz; HP 400 Hz; it must not cover the vocals.
- Vocals: HP 80–100 Hz, presence 3–5 kHz.
Dynamics
- Rap vocals: serial compression 8–12 dB, constant level.
- Bass: 3–6 dB of compression or saturation.
- Drums: moderate compression for weight and groove.
- Mix bus: glue 1–2 dB, saturation.
Space and stereo image
- Vocals, kick, bass, clap in the center; synth lead slightly off-center or with a wide delay.
- Moderate reverbs, delays on the ends of phrases.
- 1990s sound: tighter, warmer mix; modern: wider and brighter.
Reference loudness
Classic remastered G-funk −10/−8 LUFS; modern West Coast −8/−6 LUFS. True peak −1 dBTP.
Reference tracks
Dr. Dre “Nuthin' but a 'G' Thang”, Warren G & Nate Dogg “Regulate”, Snoop Dogg “Gin and Juice”, Kendrick Lamar “Not Like Us” (modern West Coast), YG “Big Bank”.
Common mistakes
- Synth bass too bright: it loses its typical roundness.
- Whistle lead as loud as the vocals.
- Drums too compressed: the slow groove becomes heavy.
- Vocals not constant enough in level.
Starting settings
| Parameter | Value | Why |
|---|
| Vocals | −4/−6 LU, 8–12 dB | Rap always understandable. |
| Bass | Mono, LP 2–4 kHz | Roundness. |
| Whistle lead | HP 400 Hz, −10/−13 LU | Background melody. |
| Mix bus | Glue 1–2 dB + saturation | Warmth. |
| Modern master loudness | −8/−6 LUFS | Level. |
Frequencies to watch
| Range | What to do |
|---|
| 50–100 Hz | Round synth bass and kick: separation. |
| 300–800 Hz | Bass harmonics: audibility. |
| 1–3 kHz | Whistle lead: present but below the vocals. |
| 3–5 kHz | Presence of the rap vocals. |
Example chain
| Step | Tool | Settings | Why |
|---|
| Vocals | EQ → FET → de-esser → opto → saturation | 8–12 dB | Consistent vocal. |
| Bass | Synth → saturation → compression | 3–6 dB | Weight. |
| Drums | EQ → bus → glue | 2–3 dB | Groove. |
| Synths | EQ → wide delay | HP 400 Hz | Atmosphere. |
| Master | Glue → limiter | −8/−6 LUFS | Level. |
How to check the result
- Master crest factor 7–10 dB.
- Bass band dominant, Side/Mid at −20 dB or lower.
- High-mids band: the vocals stand out above the lead and backing vocals.
- Correlation +0.3/+0.8.