Mixing is a lot of fun, but it can be challenging too. In order to create the best mix for your music, here are five common mistakes that you should avoid.
1. Mixing at a volume that’s too soft or too loud
Your ears are without question the most amazing technology in your studio, but they’re not perfect. At low levels, high- and low-frequency response drops off; at high levels, the frequency response will be closer to flat, but your ear will start self-limiting. So follow an example set by the film industry, and monitor at a nominal level of 85dB SPL for 2-channel stereo. An SPL meter like the Galaxy Audio Check Mate CM-130 (fig. 1) is handy for checking nominal levels, but there are also sound level meter smartphone apps for doing rough checks.
Even better, if your program includes Bob Katz’s K-System metering and you have a sound level meter, set it to C weighting, place it in your listening position, and run pink noise through your system. When the K-System meter indicates 0, adjust the monitoring level so the meter reads 85dB SPL. However, note that in smaller studios, you may want to set a somewhat lower level, like 75dB. Otherwise, the sound level might be overbearing or result in louder reflections off walls that cause acoustic additions and cancellations.
Note that there are three different K-System scales for different types of music (fig. 2), and the calibration needs to be done individually for each one.
The bottom line is if pink noise registers as 0 on a K-System meter, you want the sound level meter to indicate 85dB SPL for stereo. For more information on recommended volume levels for mixing, see the inSync article “How Loud Should You Mix?”
2. Not muting unneeded tracks
This is more of an artistic call, but the fewer tracks a song has, the more importance each track assumes. Of course, there are situations where you want thick, layered sounds, like symphonic soundtracks. But for pop music, make sure that every track complements the other tracks rather than obscures them. Here’s a quick test: mute one track at a time, and evaluate whether that improves the mix. I’m not just talking about background tracks — if you don’t need the bass in one section, it will sound super-dramatic when the bass returns. Ditto drums and vocals. A lot of times my final mixes look more like Swiss cheese due to all the muted sections, but those “holes” keep the focus on the song.
3. Mixing in a room with bad acoustics
An untreated room doesn’t do you any favors, but if you can’t afford acoustic treatment, at least make sure your speakers are placed correctly and follow these other tips.
- Set up the system (studio monitors and worktable) within the front third of the room. Doing so will reduce reflection buildup of peak frequencies.
- Center the left and right sides of the system setup (desk and speakers) an equal distance from the left and right walls. This will produce even mid- and low-frequency response and preserve stereo imaging.
- Avoid a listening position (your ears) closer than 3 feet (1 meter) from any wall. Also avoid large objects (such as lamps or decorations) near the studio monitor and listening position.
- Diffusers and absorption material in the corners and back of a room will help remove room interaction by preventing reflections.
- Carpeting will help prevent reflections from hard floor surfaces.
- Studio monitor isolators, like those from Primacoustic (fig. 3) and Auralex, will help remove vibration-inducing, low-frequency coupling between the speakers and console or work surface.
4. Not checking the mix over different delivery systems
These days, you have no idea what your mix will endure when it goes through a playback system — laptop speakers, headphones, high-end audiophile speakers, the horrifying free earbuds you get on airlines, sound bars, car audio systems, and the like. You can’t create a mix that sounds perfect on all of them, but you can create a mix that sounds decent on any of them. Given how many people listen on headphones, at least check your mix over quality, studio-oriented headphones like KRK’s KNS-8400 (fig. 4) or Audio-Technica’s ATH-M50x series.
Whatever headphones you choose, don’t use consumer-oriented headphones (like Beats), because they tend to hype the bass. They may make music larger-than-life, but they won’t do your mixes any favors. Also, be careful with the “how does it sound in a car” test, especially in a rental car — the tone controls may be set to boost the bass and treble. (Headphones have another bonus when mixing: they may allow you to hear little glitches you wouldn’t notice over speakers, but that improve the mix when fixed.)
5. Not getting your hearing checked once a year
Seriously. Set an appointment with an audiologist to make sure that your ears are in good shape — especially since some problems that cause hearing to deteriorate can be reversed if caught early enough. Also, if you find that there are response anomalies in hearing due to auditory damage over the years from loud concerts or mixing front of house, you’ll know where you need to compensate in your mix. Wax buildup can also be a problem; an ear, nose, and throat doctor can make sure it’s removed safely (no, don’t use cotton swabs unless you like to live dangerously).
And here’s a bonus tip: If a mix doesn’t work, don’t be afraid to start over from scratch. Save what you have “just in case,” remove all effects and automation, zero the levels, set the panpots to mono, and try again.
