The act of mixing involves fusing each of your carefully edited tracks together and shaping them into a single musical composition. In a final mix, each instrument should retain its distinct personality while working together to form the overall personality of the record. Carefully and painstakingly giving each instrument the appropriate amount of room in the soundscape is key to this process. Here, though, you pay little attention to how each of those instruments sounds in isolation, and instead, your focus is on how each instrument sounds in the overall mix. That’s the mixing magic.
Imagine a song as a grand dance. The bass kicks in, the rhythm guitar strums, the drums beat their rhythmic tattoo, and the vocals cut above. In mixing, we orchestrate this dance. We balance the elements so that nothing overwhelms the other. We tweak the volumes, pan the sounds, EQ the frequencies, and apply effects to enhance the total experience. We ensure that each instrument and voice has its moment to shine yet blends smoothly with the others.
Mixing Magic in Three Dimensions
Mixing engineers don’t just see the audio world in two dimensions. They work in a realm that has height, width, and depth. This is the three-dimensional space where the magic happens.
- Height speaks to the spectrum of sound, what you generally know as the EQ Band – from the shimmering, bright highs to the deep, resonating lows. Working in this dimension is all about making sure each frequency is captured in the right light. This may mean carving out some mids, enhancing some of those bass frequencies, or maybe sprinkling in some extra at the top. You’re effectively fine-tuning the volume of each frequency in the spectrum. The goal is crystal-clear distinctness for every instrument in the mix.
- Width is about positioning in the stereo field. Think of width as arranging the musicians on a stage. In a recording, this is mostly done with panning, but other techniques are available as well. Stereo Imaging is a technique that expands or narrows the entire field. The Haas Effect can be used to create width by using psychoacoustics to create the illusion of width. Mid/Side processing allows fine-tuning of equalization and other effects in each side and in the middle. Subtle use of delay and reverb can also help expand or contract the track’s width.
- Depth is all about creating a sense of space and ambiance. This dimension is sculpted using reverb and delay. Flanger and chorus effects can also contribute depth to a record. But it’s not just about these effects; room mics, overheads, and even a little leakage can be valuable players in establishing the third dimension. Your record’s depth is what gives you a sense of space, as if the performance is happening in a room with certain instruments closer or farther away. Depth is critically important in surround sound and Atmos environments.
In essence, mixing is like creating a sonic landscape. It’s Tall, Wide, and Deep.
Mixing Techniques – Brushstrokes on the Sonic Canvas
When I approach mixing, I like to think of it as painting on a sonic canvas in the three dimensions mentioned previously.
I spend most of my time and effort getting the “Heights” right. I begin with the broad strokes, getting the overall levels right. I generally work in mono at this stage, so I can focus more clearly on this dimension. I then open the EQ and start to focus on the details, applying various EQ moves to remove clashing frequencies and highlight the unique contribution of each instrument.
As a rule of thumb, I try not to remove frequencies but rather bump up those that need to cut through. I will use sidechain compression to dynamically manage frequencies, especially in the low end. For example, it’s generally a good practice to sidechain the bass and kick so that bass frequencies are ducked as the kick strikes.
When I do move over to the EQ, I’ll examine the entire track in one window, then isolate individual tracks as needed. I’ll also use some dynamic EQ and perhaps some additional compression to manage the dynamic range, helping to ensure that no part is too loud or too quiet. It’s important not to overdo this; otherwise, your record will sound lifeless and flat.
Then come the other two dimensions of width and depth: reverb for space, delay for depth, and maybe a touch of saturation for warmth. I usually manage to mix for width and depth very quickly, often making only a pass or two through the entire recording. These effects are applied only after all tracks sit well in the mix (the height dimension), so this step feels far more creative and experimental.
The final touch is automation, subtly adjusting volumes and effects over time to add movement and interest. Automation is usually what sets mixers apart. Automation can be used to ensure certain elements of the song pop at just the right moments. I like to use automation to bring down levels at certain parts of the song, then bring them back up again later on to add energy or to keep things interesting. I’ll post more about automation in the future.
The Trials and Triumphs of the Mixing Process
Mixing is a journey, often filled with unexpected challenges. Finding the right balance to make everything sound good together can be tough. It’s easy to get lost in the details, forgetting the big picture. Sometimes, a mix just doesn’t seem to “gel,” despite your best efforts. But these trials are part of the process. They push you to listen more closely and to understand your music better. And when it all comes together, when your mix finally sounds just right, the feeling of accomplishment is unparalleled.
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In the end, the magic of mixing lies in its transformative power. It’s about taking a collection of tracks and turning them into a song that moves people and tells a story. It’s about creating something greater than the sum of its parts. It’s what turns your isolated tracks into a multidimensional soundscape.
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