Mixing can often be a frustrating experience, as it may seem like something is amiss in the final product. From a lack of punch, dynamic excitement, thin or boomy sound, to a general sense of boredom, every issue has a solution. In this article, we will delve into the four most common problems found in subpar mixes, and offer you the tools to fix them.
#1 - Dynamic Range
It's uncommon for a sound source to remain at a consistent volume level throughout a song, making it difficult to get a track to sit well in a mix. Inexperienced mix engineers often resort to using a compressor without adjusting the dynamics of the track, but this leads to an artificial, lifeless quality in the mix. The solution is to use automation in your DAW to sort out the track's dynamics before using compression. Start with 1-2dB boosts and cuts, boosting if the track is too quiet, and cutting if it's too loud. You may need to adjust the automation parameters throughout the mixing process. Try to get the track 90% of the way there with automation, and then use a compressor for added sonic character and to control any remaining dynamic issues. If you're not sure if your mix has enough dynamic range, try our LEVELS plug-in, which helps identify issues with dynamic range, loudness, peaks, stereo spread, and more.
#2 – Clarity
Mixing is a delicate balancing act, where too much bass can lead to a muffled and dark mix, and too much high end can result in a harsh and shrill mix. A mix with clarity contains full lows that don't overpower other elements and crisp highs that don't sound piercing. The lead instrument or vocals in a mix with clarity will sound focused and intelligible. The two biggest clarity-killers in a mix are low-frequency mud and unwanted resonant frequencies, even if they are largely inaudible, they can cause dullness, shrillness, boominess and more. Inexperienced mix engineers tend to try and fix out-of-control bass by boosting high frequencies, which only results in a strident mix. The best way to eliminate low-frequency mud is by using a highpass filter, which is available in most parametric EQ plug-ins. To use the highpass filter, play back your mix and adjust the cutoff frequency until the track sounds thin and then decrease it until it sounds right. For bass-heavy instruments, follow the same process but at the minimum cutoff frequency and with a gentler slope of 6 to 12dB. Resonances occur when a created frequency interacts with the natural frequency of another element in the mix, leading to an out-of-control vibration or buildup of a specific frequency or set of frequencies, causing a lack of clarity in your mix.
#3 - Stereo Image
A well-crafted stereo image can enhance the listener's experience of your mix and add depth and dimensionality to your tracks. However, most inexperienced mix engineers don't understand the stereo image, leading to a mix that sounds narrow and flat. In order to craft a well-rounded stereo image, you need to understand the different stereo enhancement techniques. Panning is the simplest way to control the stereo image of your mix. Panning your tracks left or right will determine where they sit within the stereo field. However, panning alone is not enough to create a well-crafted stereo image. You also need to make use of stereo-widening tools such as stereo-widening plugins, Haas effects, and double-tracking. Additionally, you should consider the phase relationship between the left and right channels of your tracks. Inconsistent phase relationships can lead to phase cancellations, which in turn cause your mix to sound thin and lacking in bass. To avoid this, you can use phase correction tools like polarity inversion, phase shifting, and mid-side processing. In conclusion, by using a combination of panning, stereo-widening techniques, and phase correction tools, you can create a powerful and immersive stereo image for your mix.
#4 - Headroom
In today's digital studio world, headroom is the key to producing a seamless, distortion-free mix. Headroom refers to the difference between a track's highest peak and the crucial 0dBFS (dB Full Scale) threshold. Exceeding 0dBFS can lead to the dreaded clipping, resulting in an unsavory digital distortion. As a mixer, it's imperative to keep tabs on your headroom, as every aspect of your mix is fighting for this limited space. Instead of simply increasing the volume of a track to make it stand out, take control by reducing the volume of other competing elements. This can be achieved by pulling down faders, panning tracks to different spatial positions, or a combination of both. Conserving headroom not only improves sound quality, but also allows you to focus on what's important. Remember, not everything needs to be loud! A mix that has ample headroom will sound punchier, more open, and more powerful. To help you visualize your levels, keep all tracks at a consistent volume, with an average (RMS) level of -18dBFS, which is equivalent to 0VU on analog hardware. To achieve this consistency, you can use gain utility plugins or take advantage of the clip gain feature in your DAW. By maintaining consistent levels across all tracks and keeping peaks below 0dBFS, you can ensure that your fader positions will deliver consistent results for each track.
Incorporating these 4 key ingredients into your mixing process will help you achieve a professional-quality mix that's full of clarity, dynamic range, headroom, and a well-rounded stereo image. Remember, mixing is a never-ending process, and there's always room for improvement. The key is to keep experimenting, learning, and honing your skills.
Also check out this very useful mix bus technique that might help you get better results when mixing.
