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Step one: set levels around the anchor
Start with every fader low, then bring up the element that carries the song, usually the lead vocal or the kick and bass pair. Treat it as the anchor and set it at a comfortable listening level. In our example of drums, bass, guitar and vocal, the vocal becomes the anchor. Add the drums until they feel supportive, then the bass, then the guitar. Each addition should be judged against the anchor, not in isolation. Leave some headroom on the master so nothing clips. Finish by listening at a low volume, because balance problems are easier to hear quietly.
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Step two: make room with pan and tone
When levels are close but the mix feels crowded, spread and carve instead of turning things up. Keep the vocal, kick and bass near the center, and place the guitar slightly to one side so it stops competing with the vocal. If the guitar and vocal still clash, reduce a small amount of the guitar in the midrange where the voice sits. If the bass sounds thick, trim a little low end from the guitar. Make small moves, toggle each change on and off, and keep only those you can clearly hear helping. Subtle choices usually beat dramatic ones in a first mix.
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Step three: check, rest and revise once
Before calling the mix done, test it in different conditions. Play it on headphones, laptop speakers and a phone, and note anything that disappears or jumps out. In the example, the guitar might vanish on the phone, which suggests raising it slightly or brightening it. Take a short break, return with fresh ears, and make one round of revisions only. Save a version, then compare it to a favorite song at similar loudness. Limiting yourself to a single revision pass prevents endless tweaking and teaches you which adjustments genuinely matter for the next project you start.