Character of the mix
Hyperpop: pop taken to the extreme. Heavily pitched and tuned vocals (Auto-Tune at zero speed, raised formants), saturated and bright synths, 808s and distorted basses, trap or EDM drums, sudden section changes, glitch, bitcrusher, very high loudness. Distortion is an aesthetic, not a mistake: the mix must be chaotic in appearance but controlled in the low end and the vocals.
Typical balance
| Element | Level relative to the mix |
|---|---|
| Vocals | −4/−6 LU |
| 808 / distorted bass | −5/−7 LU |
| Kick | −8/−10 LU |
| Snare/clap | −8/−10 LU |
| Synth lead | −7/−10 LU |
| FX and glitch | −10/−14 LU |
EQ
- Vocals: HP 120–200 Hz (high-pitched vocals), presence 3–6 kHz, boosted air; strong de-esser before saturation.
- Distorted 808: mono below 150 Hz; distortion that brings harmonics at 200 Hz–2 kHz; control mud at 250–500 Hz.
- Synths: HP 200–300 Hz, resonance suppressor at 2–6 kHz (saturation creates strong harshness).
- Everything: watch the 2–5 kHz band, where distortion and vocals pile up.
Dynamics
- Decisive clipping on drums, 808, and master.
- Vocals: serial compression 8–12 dB, saturation, sometimes parallel distortion.
- OTT and upward compression on the synths.
- Master with clipper + limiter, very high loudness.
Space and stereo image
- Vocals centered and dry (or with rhythmic delays); pitched doubles wide.
- Very wide synths, glitch and FX moving through the space.
- Bass mono even if everything else is extreme.
Layering
- Lead vocal + pitched double (+12 semitones or different formants) + harmonies; vocal chop as an instrument.
- 808 with a parallel distortion layer above 200 Hz.
Reference loudness
Master −6/−4 LUFS, true peak −1/−0.3 dBTP. Crest factor 4–6 dB.
Reference tracks
100 gecs “money machine”, SOPHIE “Immaterial”, Charli XCX “Vroom Vroom”, Charli XCX “360”, Dorian Electra “Flamboyant”.
Common mistakes
- Distortion on stereo bass: unstable low end.
- Vocals buried by synth saturation.
- Uncontrolled harshness at 2–5 kHz: fatiguing even for the genre.
- Unintentional aliasing from lack of oversampling (different from the deliberate bitcrusher).
Starting settings
| Parameter | Value | Why |
|---|---|---|
| Vocals | 8–12 dB, de-esser before saturation | Up front and bright. |
| 808 | Parallel distortion above 200 Hz, mono below 150 Hz | Grit and stability. |
| Synths | Suppressor 2–6 kHz | Harshness controlled. |
| Oversampling | 4×–8× on distortions | No unintentional aliasing. |
| Master loudness | −6/−4 LUFS | Genre level. |
Frequencies to watch
| Range | What to do |
|---|---|
| Below 150 Hz | 808 and basses mono, even if distorted. |
| 250–500 Hz | Mud from bass distortion: control. |
| 2–5 kHz | Buildup of vocals and distortion: resonance suppressor. |
| Above 10 kHz | Boosted vocal air; control sibilance. |
Example chain
| Step | Tool | Settings | Why |
|---|---|---|---|
| Vocals | Auto-Tune → EQ → compression → de-esser → saturation | 8–12 dB | Iconic vocal. |
| 808 | Saturation → parallel distortion → clipper | Mono below 150 Hz | Aggressive bass. |
| Synths | Distortion → OTT → suppressor | Oversampling | Density. |
| Drums | Bus clipper | 2–4 dB | Impact. |
| Master | Clipper → limiter | −6/−4 LUFS | Loudness. |
How to check the result
- Master crest factor 4–6 dB.
- Sub and Bass bands Side/Mid at −20 dB or lower.
- High-mids band without narrow peaks more than 6 dB above the neighboring bands.
- Ultra-highs band (16–20 kHz): no excess due to aliasing (compare with oversampling on).