I'll be honest with you. I'm often complimented on my mixes, most of my clients say I give them the best they've ever heard. I've done work out of my home, taken it to big studios in L.A. and had engineers argue that I lied about what gear I was using because of the quality. A huge reason I don't consider myself a "professional", but a solution for guys who need tracks mixed is my "unorthodox" approach.
Everything I've learned about mixing was learned from sitting in studios watching the engineer while others were off in their own world...and from listening to music. I don't understand terms and formalities to how things should be done, I just do what sounds right. I surgically listen to music. Through multiple speaker systems and headphones trying to pick up every detail. I suggest you do the same with your mixes, surgically listen. No matter how much I tell others to do the same, I notice most people go for instant improvement.
It could be that I watched lots of people on hardware in a different era, but I have to listen to a song twice all the way through before I turn a single knob most of the time, and I'm not adding any effect or processor unless it's absolutely called for. While making a beat in the box, not much is absolutely called for in my world. Pan, Gain, a little EQ on a master track(and a limiter for listening/demoing purposes if shopping the beat), effects built into the VIs I'm using, and I'm good. With a finalized song, I'll improve that mix to accompany vocals and any live elements added.
It escapes me how once upon a time a beat could be done on nothing but a Korg Triton and "knock, thump, be full, sound polished", but we've arrived in a world where everyone has access to compressor on top of compressor, and nothing ever has these qualities anymore.
I think we do too much too early these days with the idea we're supposed to have the sound of a finalized record before any of the steps that come before finalizing a record are completed. Don't think of this as me "being tough" on you, I ginuinely think you'd benefit from taking a step back, removing all those plug ins, and mixing the beat with NOTHING in place first.
A huge factor in screwing mixes these days is the use of a limiter on the master track. Most go with the "easy to use' modules without understanding the elements of the song being drained that have to be restored through the use of other tools. I don't know much about IZ Ozone, pretty sure it doesn't drain as much as say Waves L3, but within FL, I've never used more than the FL Limiter which doesn't drain much at all when it's not pushed beyond limits. When shopping a beat, it shouldn't be the same volume as a finalized song on an album, unless you want to do alot of work and tweaking in vain, because everything you do is gonna be stripped when they request dry stem files, or even better, they'll use the audio file they receive, lower it, boost everything around it, add another limiter on top of it in the Master Bus of the song, and end up with a crappy finalized song where your beat sounds overdriven and squashed for all the work you've done.
I've somehow gone into a rant, so I'll stop typing at this point, hope I've given some useful advice. Good luck.
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