Mixing 101: A primer for musicians
So, you've finished recording your latest batch of songs, and now it's time to mix it all together and make it all sound like a “record”. Mixing can seem like a daunting and mysterious process, but understanding the core concepts can make a huge difference. In this article, I’ll cover the essentials of any mix – balance, EQ, dynamics (compression and limiting), space and depth, and relative loudness. Whether you’re working with a mixing engineer, or trying to mix your songs on your own, having a good sense of the main components of a great mix will help you put words to the sounds and visions in your head. Let's jump right in!
Balance:
This might sound obvious, but mixing is really all about balance. All of the other techniques we’ll cover are really about changing the balance between sounds and instruments. We play with the balance in a few different ways… front to back (volume, compression, spacial effects), side to side (pan), and top to bottom (eq).
Before we reach for any tools like compression, eq, reverb and delay, we want to set the coarse volume levels to make sure each track can be heard or felt without overpowering the others. Often, the best way to start to discover the balance that brings a song together is to identify one or two main elements that define what the song is. One of these is usually the vocal, but the other really depends on the track and style of music. It could be an acoustic guitar, or a sample, a piano track, or even the bassline. Once you get those primary elements working together, everything else can be moved around to shift the vibe in different ways. When the core tracks are working together, the song will always sound like the song.
It’s often said that the key to getting a great mix is having a great arrangement. Even though most of the effort put into crafting an arrangement will happen before you get to the mix, there’s one powerful arrangement tool available come mix time – the mute button. A lot of times, the way to make a mix sound bigger is to actually remove any extra tracks that can clutter up a mix and make a song lose focus. There’s only so much room in a mix, so the more things happening at the same time, the smaller you have to make each thing.
Once you know what the core balance of the mix is, try to fill out the rest of the arrangement with as few additional elements as possible to create the feeling you're after. This is all totally subjective, so just try not to get too sentimental about any one track in a mix, and don’t be afraid to try removing different tracks as a song develops. Sometimes just muting that extra guitar part until the bridge or last verse can help give the arrangement somewhere to go to.
Next, consider panning and stereo imaging. Spreading your tracks across the stereo field keeps the listener’s attention moving and adds excitement. Great mixes don’t have to be symmetrical either, but they do often have a generally even distribution of energy overall, even if things skew left or right for a few bars or a section here and there.
EQ (Equalization):
Now that we have a general balance, let's dive deeper into the realm of tone and EQ. So, what exactly does an equalizer do to the signal? Basically, an EQ is just an amp that raises or lowers chosen frequencies within a sound. This means you can emphasize certain elements of a track, remove unwanted frequencies, or correct problematic recordings. By shaping the frequency spectrum of individual tracks, you can ensure they fit together like pieces of a puzzle in the overall mix.
There are multiple types of EQ, such as parametric, graphic, and shelving, each with its unique benefits:
Parametric EQ: This type of equalizer offers the most flexibility, allowing you to select the frequency, bandwidth (or Q), and gain for each band. This precise control makes parametric EQs the go-to choice for surgical edits and creative sound shaping. Most EQ’s that you find nowadays on consoles and plugins are some kind of parametric EQ.
Graphic EQ: As the name suggests, graphic EQs display the frequency spectrum visually, with a series of sliders representing different frequency bands. While not as precise as parametric EQs, they can be great for making broad adjustments and are often found in live sound systems.
Shelving EQ: These equalizers feature high and low-shelf filters, which can boost or attenuate all the frequencies above or below a specified cutoff point. Shelving EQs are useful for general tonal shaping, like adding warmth to a track or reducing muddiness. Think basic bass and treble controls on a stereo amplifier. A lot of times if you find you always want to turn the volume of a track up, that can be a sign that some other track has frequencies that are overlapping it in some way, making it harder to hear clearly. This issue is called “frequency masking” and is one of the main things that we use EQ for. Solving masking issues by subtracting overlapping frequencies instead of just turning up all the volume faders actually allows us to get louder, clearer mixes.
Similar to masking, instead of boosting the frequencies you want to emphasize, try cutting the ones you don't. This approach can lead to a cleaner and more natural-sounding mix. For example, if your guitar track feels too boomy, try cutting some low frequencies before boosting the highs.
Overall, you want to use EQ to support the balance choices that have already been made by carving out some space for each track to occupy. Don't be afraid to experiment with different equalizer types and techniques to find the perfect blend for your music.
Compression and Limiting:
Dynamics play a crucial role in bringing your mix to life, and that's where compression and limiting come into play.
Compressors are used to control the dynamic range of an audio signal. The dynamic range is the difference between the loudest and quietest parts of a track. By reducing this range, compressors can make the quieter parts more audible and tame the louder ones. This adds energy, excitement, and polish to your tracks.
So, what does a compressor do to the signal? It works by automatically reducing the amplitude (or volume) of a signal when it exceeds a certain threshold. The amount of reduction is determined by the ratio setting. For example, a 4:1 ratio means that for every 4 dB the signal goes above the threshold, the output will only increase by 1 dB.
Compressors can be used in various ways, such as:
Controlling transient peaks: Tame the sharp, loud spikes in your drums or percussion instruments to create a more consistent sound.
Adding sustain: By compressing the tail end of a sound, like a guitar or vocal, you can give it more presence and sustain without boosting the volume.
Tightening up the mix: By compressing groups of instruments, like drums or backing vocals, you can create a more cohesive and polished sound.
Parallel compression: This technique involves blending a heavily compressed version of a track with the original, uncompressed version. This can add punch and excitement while preserving the natural dynamics of the source material.
Limiters, on the other hand, are specialized compressors that set an absolute ceiling for your track's volume. They work by applying a very high ratio (often 20:1 or more) and a fast attack time, ensuring that the signal never exceeds the set threshold.
Limiters are often used in the following scenarios:
Maximizing loudness: By pushing the volume of your mix right up to the threshold, you can achieve a loud and competitive sound without causing digital distortion. This approach can also be applied to individual groups of tracks (drums, all guitars, etc..) to gain more control over how total loudness is achieved and try to minimize any of the harsh effects that can happen when aggressively limiting an entire mix.
Protecting your mix: Limiters can be used as a safety net to catch any unexpected peaks that might cause clipping, especially during live performances or when working with unpredictable sources.
Mastering: Limiters are often used in the final stage of the mastering process to ensure that the overall level of the track is consistent with industry standards, while still preserving as much dynamic range as possible.
Don't be afraid to experiment with different compressor settings and limiting techniques to find the perfect balance for your music.
Space and Depth:
Creating a sense of space and front-to-back depth is key to crafting an engaging and immersive mix. Reverb and delay are the go-to tools for adding this third dimension. These tools are also part of what gives certain genres of music their signature sound. A lush chamber or hall reverb can immediately create a vintage vibe, but would sound out of place on a metal or hip-hop song. Let's explore some examples of how reverb and delay can be applied to different musical styles. Keep these in mind when thinking of what kinds of feelings you want your music to evoke.
Reverb:
Reverb simulates the natural reflections of sound in a physical space. There are several types of reverb, each with its own unique characteristics:
Plate Reverb: Often used in classic rock, pop, and vocal tracks, plate reverbs create a bright, smooth, and dense sound that can add warmth and shine to your mix.
“A Change Gonna Come” by Sam Cooke
“I Wish I Was the Moon” by Neko Case
"Bohemian Rhapsody" by Queen:
“Breathe (In the Air)” by Pink Floyd
Spring Reverb: A staple in surf rock and vintage guitar tones, spring reverbs produce a distinctive, bouncy sound that can add character and depth to your mix.
“Myth” by Beach House
"Misirlou" by Dick Dale: The iconic surf rock guitar tone in this track is a prime example of spring reverb in action.
“Rolling in the Deep” by Adele: Tom Elmhurst uses multiple springs on vocals
“Good Vibrations” by The Beach Boys: Check it out on bass guitar
“Masterplan” by My Morning Jacket
Chamber: Actual rooms treated with shellac on the walls, and outfitted with speakers that are fed a signal, and microphones to record the reflected sound in the room.
“That’s Life” by Frank Sinatra
“Back To Black” by Amy Winehouse
“Guitars, Cadillacs” by Dwight Yoakim
“Light My Fire” by The Doors
“Be My Baby” by The Ronettes
“Dancing Queen” by Abba
“The Air That I Breathe” by The Hollies
“The Age of Aquarius” by The Fifth Dimension
“Mercy Mercy Me” by Marvin Gaye
Hall Reverb: Perfect for orchestral, choral, and cinematic music, hall reverbs simulate the large, reverberant spaces of concert halls, creating a lush and spacious atmosphere.
"Adagio for Strings" by Samuel Barber
“Like I Used To”: by Angel Olsen and Sharon Van Etten
“Intruder” by Peter Gabriel: Early example of a gated hall verb
“Avalon” by Roxy Music
Delay:
Delay is another powerful tool for adding depth and interest to your mix. By repeating the original signal at various time intervals, delay can create a sense of space and movement. Here are some examples of how delay can be used in different genres:
Slapback Delay: Popular in rockabilly, country, and early rock 'n' roll, slapback delay features a single, short echo that adds depth and character to vocals and guitars.
"Green River" by Creedence Clearwater Revival : Vocals
“Alabaster” by All Them Witches: Vocal sound
“Fruits of My Labor” by Lucinda Williams: Gtr and Vocal
“Keep It Between the Lines” by Sturgil Simpson: Vocal
Dub Delay: A staple in reggae and dub music, this style of delay features longer, rhythmic repeats that often include feedback and filtering, creating a hypnotic and immersive soundscape.
"King Tubby Meets Rockers Uptown" by Augustus Pablo: This dub classic showcases the creative use of rhythmic delays and feedback in the genre.
“Protection” by Massive Attack
“Ghostdancing” by The Orb
Ping Pong Delay: Commonly used in electronic music, ping pong delay alternates the repeats between the left and right channels, creating a wide and engaging stereo effect.
"Three" by Massive Attack: LR Panning delay on vocals
“The Girl with the Sun in her Head” by Orbital
“Little Fluffy Clouds” by The Orb
Tempo-synced Delay: Used across various genres, tempo-synced delays are timed to match the tempo of the song, creating rhythmic repeats that enhance the groove and add depth to the mix.
"With or Without You" by U2
“Am I Going Up?” by All Them Witches: Guitar
Listen to these examples and pay attention to the use of reverb and delay in each song. This will help you gain a better understanding of how these effects can be applied to different genres and styles.
In addition to using delay and reverb, we can also use “modulation” effects like chorus, flanger, and phasers to provide an extra layer of depth and motion. For example, a slow chorus effect can add warmth and lushness to a synth pad in an electronic track, while a flanger might create a swirling, psychedelic atmosphere for a guitar in a rock song.
Relative Loudness:
Relative Loudness and Streaming Services:
Finally, let's tackle the topic of relative loudness and its significance in the modern age of streaming services. Perceived loudness is essential because it determines how your mix will sound when played alongside other tracks. Loudness normalization standards, like LUFS (Loudness Units Full Scale), have been established to help ensure consistent listening experiences across different platforms.
To achieve optimal loudness while preserving dynamics, we use a variety of techniques like parallel compression, soft clipping, and different approaches to EQ to try to get the most perceived volume out of the least actual signal level. And always remember that different genres and platforms may have unique loudness requirements.
Now, let's discuss how different streaming services utilize loudness normalization:
Spotify:
Spotify uses its own loudness normalization algorithm, with a target level of -14 LUFS. This means that tracks with a higher LUFS value will be turned down, while tracks with a lower value will be turned up to match the target level. To ensure your mix translates well on Spotify, aim for a loudness level close to -14 LUFS.
Apple Music:
Apple Music uses a loudness normalization system called Sound Check. The target level for Apple Music is -16 LUFS. Similar to Spotify, tracks will be adjusted to match this level, so aim for a loudness level around -16 LUFS when mixing for Apple Music.
YouTube:
YouTube's loudness normalization target is -14 LUFS. As with other streaming services, tracks will be adjusted to match this level. Keeping your mix at or near -14 LUFS will help ensure a consistent listening experience on YouTube.
Tidal:
Tidal utilizes a loudness normalization system called ReplayGain, with a target level of -14 LUFS. To optimize your mix for Tidal, aim for a loudness level close to -14 LUFS.
Amazon Music:
Amazon Music has a loudness normalization target of -14 LUFS. Tracks will be adjusted to match this level, so strive for a loudness level around -14 LUFS when mixing for Amazon Music.
Achieving an optimal LUFS level that works well across all streaming platforms can be a bit challenging due to the slight differences in target levels. However, there are some best practices you can follow to ensure your mix translates well on most platforms:
Aim for a balanced loudness level: To accommodate the majority of streaming services, consider aiming for a mix with an integrated loudness level of around -14 to -16 LUFS. This target range balances the various loudness normalization standards used by platforms like Spotify, Apple Music, YouTube, Tidal, and Amazon Music.
Preserve dynamic range: While it's essential to reach competitive loudness levels, don't sacrifice your mix's dynamic range in the process. Over-compressing or limiting your mix can lead to a fatiguing and lifeless sound. Remember that loudness normalization will automatically adjust your track's level, so focus on achieving a mix that sounds good and dynamic, rather than pushing for maximum loudness.
Use a loudness meter: To accurately measure the loudness of your mix, use a loudness meter plugin that supports LUFS measurements. This will help you monitor the integrated loudness, short-term loudness, and true peak levels throughout the mixing and mastering process. Keep an eye on these measurements and adjust your mix accordingly to stay within the optimal loudness range.
Test your mix on different platforms: Test it on various streaming platforms before finalizing it, if possible. This will help you ensure that your mix translates well across different loudness normalization systems. Listen for any inconsistencies in perceived loudness, and make any necessary adjustments to your mix.
By following these best practices, you can create a mix with an optimal LUFS level that works well across all streaming platforms, providing a consistent and enjoyable listening experience for your audience.
There you have it, folks! A crash course in the art of mixing. Remember, practice makes perfect, so don't be afraid to experiment and learn from your experiences. Have fun! Mixing is a journey,
