The Goals of Mixing

Decide who should be heard first, then let every other part give up the space it does not need.

Related

BusPanningDrum KitContemporary

The problem

Every instrument sounds fine alone, yet together they have no hierarchy. The vocal sits behind the guitar, the chorus is as loud as the verse, and the mix bus limiter is asked to create excitement. The problem is not timbre but an unstated answer to what should be heard first.

Goal and judgement

Write the goal in one sentence and rank it as clarity, balance, emotion. Clarity means the main message stays legible. Balance means no band or side is permanently empty or crowded. Emotion means the sections differ in real intensity. Judge whole sections, never solos. Ask three questions: who leads, who supports, who appears only in the gaps.

Method

Bypass all processing and set static faders so the lead still sits in front at the fullest chorus. Then make room for supporting parts in the midrange and stereo field. Add compression, space and automation last. Each pass should solve one goal, and keep the previous version.

What to listen for

Start with the fullest eight bars of the chorus and check that every word of the lead is clear. Drop to the verse and hear whether the arrangement collapses. Lower the whole mix and see if the hierarchy survives. In the four notes below, notice which one stands out first.

Common misconceptions

That the goal is to make every instrument clear; that louder means more emotion; that effects can organize a confused arrangement.

Sources

• Bobby Owsinski, The Mixing Engineer's Handbook, balance and monitoring chapters — background checked, not quoted
• David Gibson, The Art of Mixing, visual mapping of clarity and balance — background checked, not quoted

Used for fact-checking only; all prose is original.