
Mixing & Mastering Course – Make Your Tracks Sound Pro
Struggling to get your mix to sound polished and powerful? Know the basics but your tracks still don’t bump like they should? You’re not alone—and our Mixing & Mastering Course is designed exactly for producers like you.
In today’s crowded music landscape, a clean, professional mix isn’t just nice to have—it’s essential. If your productions lack depth, clarity, or that final touch of finesse, we’ll show you how to fix it. Since 2010, we’ve been teaching producers how to elevate their sound using a mix of classic engineering techniques and cutting-edge tricks. Discover qualities that distinguish us.
You’ll learn how to:
Whether you’re mixing house, hip hop, pop, or cinematic soundscapes, this course will help you dial in a professional sound—fast.
Available in-person worldwide or LIVE online. All learners must bring a laptop with their DAW of choice installed.
Prerequisite: This is an intermediate-level course. You’ll need a solid understanding of your DAW and the basics of music production. Not quite there yet? Take one of our DAW courses first—or reach out and we’ll help you figure out where to start.
This course is available live online, taught in real time by Garnish instructors from across our network of campuses, in the same small-group format as our in-person classes.
Subgrouping a mix, using reference tracks properly, and keeping your monitoring level honest over a long session.
Read →We have discussed the most common modulation effects such as chorus, flanging and phasing. Now it is time to investigate other modulation effects.
Read →What a vocoder actually does, the difference between carrier and modulator, how filter bands work, and how to sit one in a mix.
Read →Chambers, springs, plates and digital reverb - what each parameter does, and how to place a sound in a space without drowning the mix.
Read →From tape echoes to ping-pong delays: the parameters, how to match delay time to tempo, and using delay as a real mixing tool.
Read →How to place instruments across the stereo field, why the low end stays centred, and how to avoid phase cancellation and masking.
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