FCC Mix Guide

Start Here

Use this guide as a starting point, not a final answer. Set gain first, then HPF, EQ, compression, FX, and finally group control.

Individual Channels

Shape the actual sound of the mic or instrument. Fix mud, harshness, body, clarity, and dynamics here first.

Groups

Shape how sections behave in the room. Use groups for glue compression, resonance control, and making space for vocals.

Target Reduction

On compressors, gain reduction means how much the compressor is turning the signal down. Vocals usually live around 3–6 dB. Groups are lighter.

Music Vocals

Main vocal channels should feel clear, present, and controlled. Background vocals should support without pulling focus.

Main Vocal

Vox C

Male worship pastor vocal. Present, clear, less boxy, not harsh.

Compressor

VC76 / 1176-style

Input Push until 3–6 dB reduction

Output Match bypassed volume

Light3–6 dBToo Much

Ratio: 4:1
Attack: medium-fast
Release: quick/medium
De-esser: 5.8–6.5 kHz

Listen for: clear words, controlled esses, less boxy low-mid buildup, and a vocal that stays on top of the band.

Main Vocals

Vox L / Vox R

Mostly female vocals. Clear and polished without sharp S sounds.

Compressor

VC76

Input 3–5 dB reduction

Output Match level

Light3–5 dBToo Much

Ratio: 4:1
Attack: medium-fast
Release: quick/medium
De-esser: 6.5–7.2 kHz

Listen for: harsh S, T, SH, and CH sounds around 5.5–8 kHz. Use the RTA to find the exact spike.

Background Vocals

BVG L / BVG R

Supportive, blended, and controlled. Should not compete with lead vocals.

Compressor

VC76 or native comp

Input 2–4 dB reduction

Output Match level

Light2–4 dBToo Much

Ratio: 4:1
Goal: blend, not spotlight
De-esser: 6.5–7.5 kHz

Listen for: BVGs should support the lead. If they poke through, reduce 2.5–4 kHz before simply turning them down.

Guitars

Guitars should add rhythm, movement, and emotion without crowding the vocal range.

Acoustic Guitar

AG1

Less tinny, more natural body, but not too much low-mid mud.

Compression

Ratio: 3:1
Attack: 20–30 ms
Release: 100–150 ms
Reduction: 2–4 dB

Listen for: if it sounds plasticky or thin, cut 1.5–2.5 kHz before adding lows.

Lead Electric

EG1

Big and emotional, but controlled so it does not wash over vocals.

Compression

Often: little or none
If needed: 2:1 or 3:1
Reduction: 1–3 dB
Watch: 2.5–4 kHz vocal space

Listen for: huge verbs/delays building up around 250–400 Hz.

Rhythm Electric

EG2

Supportive rhythm texture that sits behind EG1 and the vocals.

Compression

Often: none
If needed: 2:1
Reduction: 1–2 dB
Goal: felt more than noticed

Listen for: if EG2 feels exciting by itself, it may be too forward in the full mix.

Piano / Pads

Piano and pads often support speaking moments. They should fill space without making speech unclear.

Keys

Piano

Warm, smooth, felty, and able to stand alone without swallowing speech.

Compression

Ratio: 2:1
Attack: 25–40 ms
Release: 150–250 ms
Reduction: 1–3 dB

Listen for: preserve warmth, but cut 350–500 Hz if it gets cloudy.

Pad

Bright, wide, string-like atmosphere that stays behind vocals and speaking.

Compression

Usually: none
If needed: 2:1
Reduction: 1–2 dB max
Main control: fader

Listen for: if speech loses clarity, lower pad first and check 2–4 kHz.

Low End

Bass

Warm, emotional, slightly boomy, but still defined.

Compression

Ratio: 4:1
Attack: 25–40 ms
Release: 100–180 ms
Reduction: 4–7 dB

Listen for: bass should be felt first and heard second. Add definition around 700 Hz–1.2 kHz.

Drums

Drums should feel powerful but controlled. Kick and snare create impact; cymbals should add energy, not pain.

Kick

Meaty and punchy while controlling 200–400 Hz room resonance.

Compression / Gate

Ratio: 4:1
Attack: 20–30 ms
Release: 80–140 ms
Reduction: 4–6 dB
Gate: fast attack, 40–80 ms hold

Listen for: kick should hit, not hum. Use the RTA between 200–400 Hz.

Snare

Snappy CCM snare with compression and drum verb sustain.

Compression / Verb

Ratio: 6:1–8:1
Attack: 20–35 ms
Release: 80–180 ms
Reduction: 6–10 dB
Drum verb: main source

Listen for: crack first, then verb bloom. Cut 400–700 Hz before heavy compression.

Toms

Rack and floor toms paired together. Big and round without ringing forever.

Compression / Gate

Ratio: 4:1
Attack: 20–35 ms
Release: 150–250 ms
Reduction: 3–6 dB
Gate release: 250–400 ms

Listen for: find a middle ground that works for both rack and floor tom.

Cymbals

Bright and spacious, not harsh, splashy, or distracting.

Compression / Gate

Usually: no gate
Compression: little or none
If needed: 2:1
Reduction: 1–2 dB max

Listen for: cymbals add energy, not pain. Watch 2.5–4 kHz and 6–8 kHz.

Speaking Vocals

Pastor and handheld speaking mics are mostly about gain-before-feedback, clarity, compression, and de-essing.

Speech

Pastor / HH A / HH B / HH C

Clear speech, feedback resistance, smooth dynamics, controlled harshness.

Compression / De-essing

Ratio: 2.5:1–3:1
Attack: 15–25 ms
Release: 100–160 ms
Reduction: 3–5 dB
De-esser: 5.5–7 kHz

Process: ring these out in person. Use EQ cuts for feedback and harshness, not big musical boosts.

Groups

Group processing is for room control and glue. Do not use group EQ to fix one bad channel.

Group

Main Vox Group

Unify vocals and keep them polished without flattening them.

Native Comp: 2:1

Attack: 25–40 ms

Release: 120–200 ms

Reduction: 1–3 dB

Use group EQ for room mud, shared harshness, or small presence control.

Group

Band Group

Hold instruments together and make room for vocals.

Native Comp: 2:1

Attack: 30–50 ms

Release: 150–250 ms

Reduction: 1–3 dB

If vocals are buried, check 250–400 Hz mud and 2–4 kHz masking in the band group.

Group

Drum Group

Make the kit feel connected while keeping punch.

Native Comp: 3:1–4:1

Attack: 20–30 ms

Release: 80–150 ms

Reduction: 2–5 dB

Good glue makes drums feel connected. Too much makes cymbals pump and snare lose crack.