The 5 Key Objectives of Mixing

The 5 Key Objectives of Mixing The 5 Outcomes We MUST Achieve to Ensure a WorldClass Mix Summary. Checklist P R O S O U N D. C O M

The 5 Key Objectives of Mixing Before we do ANYTHING we MUST first understand what we re trying to accomplish. Most people fail because they don't know or understand the purpose and objectives of mixing. As the old adage goes; You can t win a game that you don t understand, and so the first step to great mixes is to understand what MAKES a great mix, and the key objectives (outcomes) that we must achieve. In this section you ll discover the 5 KEY objectives we must accomplish in EVERY mix. Overview Key objective #1: Final arrangement & composition Key objective #2: Emotional experience Key objective #3: Sounds good technically Key objective #4: Sonic consistency Key objective #5: Format ready for mastering This entire program is built around these 5 key objectives because this is what we need to accomplish to achieve a worldclass, professional sounding mix. Every great mix fulfills these 5 outcomes. P R O S O U N D. C O M

Why do we have to mix? Originally music was recorded with one mic and the artists balanced themselves by changing their position relative to the microphone Multitrack recorders and overdubs lead to the role of the mix engineer Mixing is the bridge between the recording and final mastering stage The mix is the LAST creative input we have in the production process, it s the final presentation of the song What is mixing? Mixing is simply combining various sounds together. Here s the dictionary definition (esp. in sound recording) combine (two or more signals or soundtracks) into one produce (a sound signal or recording) by combining a number of separate signals or recorded soundtracks Of course, it s HOW we do this that makes the difference between a GREAT or poor mix We want to combine the multiple recorded audio files together in such a way that best brings out the song and sounds great on most playback systems What makes a GREAT mix? If you ve ever listened to a song and thought that sounds great, then you ALREADY KNOW what a great mix sounds like Mixing is very subjective, but there are always five essential outcomes we must accomplish in every mix All great mixes achieve these five objectives in a way that best serves the song The first two objectives are musical / creative aspects, and the last three are technical aspects. Let s have a look at them P R O S O U N D. C O M

Musical & Creative Aspects Key Objective #1 Final arrangement & composition The mix is where the final decision on arrangement and composition must be made Often many extra tracks are recorded to give the mix engineer options The mix phase is the last opportunity to make the song work, and whatever needs to be done must be done If something doesn t work, lose it! Sometimes you may find you need to add a part to make the mix work The arrangement should be interesting but NOT cluttered Key Objective #2 Emotional experience Without creativity music becomes generic and boring Creativity is simply using your imagination Don t be too safe Try NEW things EVERYTHING S A TEST Don t get so caught up in all the technical stuff that you lose sight of the MUSIC P R O S O U N D. C O M

Technical Aspects Key Objective #3 Sounds good technically There are 5 aspects that make a mix sound good technically, they are the 5 Drivers of Mixing: Balance The relative levels of the various instruments Fix Making sure there s nothing that sounds bad Enhance Bringing the best out of the individual instruments and overall mix Shape Making the instruments fit together Space Creating depth and dimension in the mix Key Objective #4 Sonic consistency Complete and well balanced frequency spectrum The mix translates well to other systems Always keep the average listener in mind Appropriate dynamics Key Objective #5 Format ready for mastering We need to produce a high quality uncompressed stereo audio file ready for mastering Sometimes the mastering engineer will request stems, e.g. Drums, Band, Vox It s important that the level isn t too loud or too soft Shouldn t have any mastering processors on the master buss NO limiters! P R O S O U N D. C O M