I nearly always do the same now I’ve got a machine powerful enough to handle it.
2x Filter3, one low pass, one high pass to try and isolate the range of frequencies you want from the sound.
Often a EQ10 to add a little emphasis or remove rouge elements.
Some tips: Mild Highpass on every channel that is not meant to add bass to the song. This is the most common problem, muddyness in the area below 300hz-600hz. When you have several tracks piling up some lower frequencies things start to sound nasty quite fast. So I often cut the lower/midlower end of tracks that are not meant to make “boom”. Also, don’t be afraid to limit the shit out of tracks. I often use gclip for this, it gives you a nice representation of the wave and you see how much you can limit. Because there really can be too much dynamics in a track/sample, especially true for drumbreaks (and acoustic hihatloops in particular), samples from old vinylrecords or several VST-Instruments. Level the track, fire up gclip and see if you can limit spikes without the sound changing.
Very informative tutorial, recommended watch
Hmki thanks, I’ll look into gclip. And yeah, I usually cut the lower end of most stuff, but it seems usually most of the sound i want from the sounds i pick is in that area… I like making dark stuff 
Well, ofcourse it’s not a “follow thouroughly”-formula, just try around with this to get a feeling for it. And if you are already aware of this then great, it’s just one of the biggest mistakes all beginners do and I thought I just mention it. 
I appreciate every trick you have to come with, even if I may know some of them already. So thanks 
[quote name=‘looza’ post='184069’Also, don’t be afraid to limit the shit out of tracks. I often use gclip for this, it gives you a nice representation of the wave and you see how much you can limit. Because there really can be too much dynamics in a track/sample, especially true for drumbreaks (and acoustic hihatloops in particular), samples from old vinylrecords or several VST-Instruments. Level the track, fire up gclip and see if you can limit spikes without the sound changing.
[/quote]
Oh, I would be afraid if I consider dynamics as live-giving elements in my tracks.
I am terrible at Mixing. One thing I hope is that we one day have a spectrum analyzer for all tracks. Because I can’t hear my problems areas very well, and it is pretty time consuming to turn tracks on and off trying to see who is doing what where.
That being said:
I’m surprised nobody here has mentioned panning tracks. You really shouldn’t pan bass and bass drums, but anything else is free game. If you have two instruments occupying the same frequency space hard panned then you can play them at their maximum volume. You probably aren’t going to hard pan main elements, but the more you can pan, the less conflict.
The Signal follower is great. I use it to cut the volume on bass when a kick hits. So now I have loud clear kicks, so much so I’ve had to lower the volume on them. Also going back to panning, I started using the SF to dynamically pan when another similar instrument comes on. Works well with lots of release so that the changes aren’t to abrupt.
Limit reverb and echos. I have too much on my tracks and I can’t seem to get out of the habit. Especially on the low end.
Hire a mixing engineer. I would pay a fortune for somebody to fix my tracks for me if I could afford it.