When it comes to mixing, my workflow usually starts with the low-end of the big climax sections. I pay close attention to the sidechain relationships between instruments to keep the low-end clean and powerful. For example, I almost always layer a sub-kick under my trailer hits (typically targeting around 20–140 Hz) and apply a multiband compressor on the hits bus to tame only that same range by about 4–5 dB. I do something similar on the low percussion bus, and for low synth basses (if present), I’ll use a dedicated sidechain compressor triggered by the sub-kick and fine-tune the ducking very precisely. This approach gives me near complete control over the low-end, providing a stable foundation to build the rest of the mix around. Once that area feels tight and controlled, I can shape the remaining elements with much more confidence. It might sound a bit intricated, but I just love experimenting with this kind of stuff. 😄

I absolutely love combining different genres, it's probably my favorite part of writing, especially when it comes to trailer music. When I blend styles, I try to highlight the signature traits of each genre. For example, in an orchestral-rock/metal track, I’ll usually write a punchy, aggressive guitar part that really carries that raw energy. On the other hand, with an orchestral-EDM, I love creating contrast between a gritty, distorted low-end and more elegant orchestral elements, like flowing string phrases or ambient brass textures. That said, my main goal is always to support the trailer and never distract from it. So I aim for simplicity and immediate impact: writing parts that are clean and effective, without being too obvious. I like to think that if someone’s watching the trailer and suddenly, without realizing it, nods their head and thinks: “Whoa, this music’s awesome!” 😂😂 When it comes to mixing, my workflow tends to start from the low-end. I find that shaping the subs, kicks, and bass elements (Pulse, Braams, Hits ecc.) early on gives me a solid and controlled foundation to build on. Once the low frequencies are locked in, it’s much easier to place all the mid and high-end elements around them without things getting muddy. I also like to play a lot with stereo placement and panning to create a wide, full sound that helps the track hit harder and feel more immersive. I’ve never personally tried separating the mix into two “mixes” as you described, but I find that mixing is such a personal process, and everyone develops their own approach based on their sound and goals. Really cool to hear how you tackle it!

@Dave Graham Thank you Dave! These are very useful tips, I will make sure to use them. Very helpful!🙌🖤

@Stella Tartsinis Thank you so much!🖤

Over the past couple of years, I’ve spent a lot of time studying and refining my mixing and mastering, mostly aiming for a very electronic, sound-design-heavy kind of sound. I’ve watched a ridiculous amount of cinematic and hybrid music tutorials (probably too many😅), but the real breakthrough for me came when I stepped out of that world and started learning how to mix and master proper electronic music, especially Bass music (like drum & bass, dubstep, neurofunk, etc.). Those producers really opened my eyes to a whole new range of mixing techniques. Some of them, like more creative sidechain methods, turned out to be super useful for achieving the sound I was after, and most importantly, for making it sound good! I'm not a pro like some of composers in this community, but I can honestly say that studying other genres was a total game changer for me, and I’d recommend it to anyone exploring their sounds!🖤

@Dominik Škrabal Unfortunately I don’t have a single clear go-to place I can point you to, I really wish I did, I know how helpful that would be! But my honest suggestion is: based on your project, try searching for very specific tutorials and content that match exactly what you're trying to figure out. That’s what helped me the most. For me, learning specific techniques from other genres made a huge difference. It became a process of taking bits and pieces from different genres outside of cinematic music and then blending those techniques with what I already knew about mixing for soundtracks/trailers. So yeah, I know it’s not the most concrete answer, but if anything, I’d recommend digging into highly targeted content in other genres, there’s a lot of valuable stuff out there that you can adapt in your own way!🙌🖤

Really liked the track! I think you did a great job conveying the feeling and emotions you were aiming for. If I could share just one (very personal) suggestion, maybe try getting a bit more "crazy" with risers and hits, just to add even more impact in certain moments. But honestly, great work! 👏🔥