Good or bad mixing

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What do you think is the difference between a good mix and a bad one? What factors can influence its quality? And finally, how to make a quality track? By logging into the mixing and mastering studio at, you can get answers to many questions. Well, or just read this article.


This is where the foundation for a good mix is ​​laid. Inconsistent instruments will make good mixing nearly impossible. For example, a drum kit with a typical “minimal techno” sound will not allow you to achieve a rocking sound in rock music, even if the rest of the instruments are perfectly recorded. High-speed midi passages written with an instrument with a slow attack will not sound as expected – short notes will simply “swallow”.

Performing skills

Remember: a dull part will sound dull. After all, the main thing is sound production, not equipment and effects. So, if you received poorly recorded instruments for mixing, you should immediately draw the attention of the customer to this. Which often makes demands on the final result that are not comparable to the skill level of the musicians.


It’s the same here: well-recorded parts sound good. So it’s better to record the phrase from the 100th take than to cut it into notes. Any processing spoils the sound. So the less processing you have in your recording, the more room you will have in your mixdown.


Routine work, sometimes having little to do with music. But it allows you to select the best moments from the recorded takes, as well as correct the mistakes of the musicians. And again about the same thing: the worse the games are played and the higher the requests for the final material, the more time will have to be killed for routine.

Mixing process

Let’s take an ideal situation: excellent arrangement, good performance, parts played clean and rhythmically even, instruments are perfectly tuned, good recording and symbolic editing with the selection of the best takes. Wanting to achieve the ideal, the sound engineer (at the request of the customer, of course) compares the track with some world hit. And this is where the main mistake lies. After all, each mix is ​​individual, and what makes a good song by a famous artist in another work can only do harm. So you can and should be equal to the best, but you shouldn’t blindly copy the sound.


This is the “shock energy” of the composition, forcing the listener, if not to dance, then at least shake his head in time to the music. This is exactly the indicator thanks to which rock music “pumps” and sets the rhythm of the dance.


In a good mix, all instruments are clearly audible. This is the result of skillfully performed equalization (frequency ranges of instruments do not conflict with each other) and placement in the sound space (reverb and levels).

Sound density

Legibility is half the battle. For example, cutting out excess low frequencies will not always affect intelligibility, but will most likely render instruments “lifeless”. With moderate EQ, you can achieve a sweet spot between processed and unprocessed sounds.

Of course, there are many more small factors, but these three points are always present. Their observance, in fact, is enough to make the sound as close as possible to high-quality bands, but not to imitate them, keeping the liveliness and originality of your creation.

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By Michael Caine

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