You’ve probably spent hours working on a track. You are ready to share it with the world but something is not right. Your music just doesn’t sound like a song you hear on the radio. What’s missing? This probably sounds familiar because making a track sound “professional” is tough, especially when it comes to “the mixing stage”. There’s a huge difference between recording, and mixing. A good recording has clean audio with the correct mics, placements, instruments and performers. Getting all of these right can take an experienced ear, as well as the patience to really find what works best. This process, as complicated as it can be, is not what you are working with if your recording is done.
Mixes should start with clean audio and your mixing skills. The common thought process for those just starting is “what’s wrong?” More often though what is lacking is the perspective of what went wrong to cause it. To help understand these shortcomings and give you a clearer vision of your mixing decisions, I’m going to reveal “The Top 10 Newbie Mixing Mistakes”.
Table Of Contents:
- The Top 10 Newbie Mixing Mistakes
- 1. Mixing With High Levels
- 2. Failing to use Reference Tracks
- 3. Using Solo Buttons for Everything
- 4. Adding EQ on Every Track
- 5. Mixing With Poor Monitors
- 6. Ignoring Headroom
- 7. Applying Too Much Reverb
- 8. Applying Reverb to Bass Heavy Material
- 9. Mastering Yourself
- 10. Poor Acoustic Treatment in Studio
- FAQs
- Conclusion
The Top 10 Newbie Mixing Mistakes
Lots of websites that offer mixing advice try to convince beginners that it’s just for loudness and this mindset can really throw you off. What those websites really want to sell you though, are the expensive tools they say you’ll need, like cutting-edge AI mastering plugins or automated resonant frequency reducers.
There are entire sets of “must have” studio essentials and it’s easy to think you can’t do anything without them, but a good mix needs good mixing practices, regardless of any gear. You should get to know the free stock options that come with your recording software or DAW to develop a greater understanding of what each piece of gear does, and there are a huge number of amazing plugins out there that can replace expensive analog gear, for a fraction of the price. If you start with the fundamentals and grow your understanding you will find it much easier to justify a more pricey purchase in the future.
One common newbie misconception is assuming there are shortcuts to get a radio-ready result. What often ends up happening because of that though, is relying too much on expensive gear or effects. Overcompensating with EQ or reverb to achieve “a professional sound” can damage your mix rather than polish it, and more often than not you’re over-doing what a mastering engineer would handle later anyway. It’s best to start with your ears.
Many studios I’ve seen even have visual tools available that measure what is happening, whether that’s an audio wave on a screen or metering from an analog needle. It’s important to remember these are only meant as a general point of reference and don’t define your final decisions. Trust what your ears tell you. That should come first. That should guide you more than anything else. That said, here is my advice based on what I’ve heard after over twenty years as a mixing and mastering engineer for numerous studios across the globe.
Without further ado, here are the top 10 mix mistakes we often see beginners make.
1. Mixing With High Levels
It sounds amazing doesn’t it? The kick drums hits you right in the chest and that powerful distorted bass rattles your brain. We want to turn our speakers up when listening and experience our music. The truth is though there are problems associated with “high levels” if you’re the one doing the mixing. To start, it can lead to hearing damage from prolonged exposure. Most of the time we aren’t concerned about our future health when creating mixes though, but this point is a key one that many engineers learn about over time the hard way.
If you listen at high volume too long without taking any breaks, your mix decisions can and will start to sound terrible when you check your mixes at lower volume. Even worse, there’s no way to fix ear damage with software or studio gear so you are permanently stuck with bad hearing.
You will perceive frequencies differently at higher volume levels because it accentuates those in the lower and higher spectrums of hearing, so everything will probably sound “better”, as odd as that may seem. If a track sounds phenomenal at 11, but falls apart at lower levels there’s no point is there?
Mixing should always be at a reasonable volume level with several regular breaks to reset your hearing. Try listening at lower volume for 30 minutes and see what is missing.
2. Failing to use Reference Tracks
Most studios and producers utilize professional reference mixes when getting their songs ready for commercial release. Reference mixes are well-produced tracks that you probably hear on the radio, in TV or in Movies. You may find these “high levels” mixes available as purchased downloads, lossless streaming audio, or even compact discs from Amazon. I prefer “lossless audio” as opposed to “lossy”, but that’s only my personal preference. References let you get familiar with what the professionals did so that you can emulate these mixing or audio production tricks within your mix.
By instantly A/Bing your tracks alongside your references it becomes easier to spot the little imperfections that were masked before. Even better, you can now make small tweaks to better match what was happening in those commercial tracks. Many beginner engineers don’t consider using this method since they don’t understand the power in these mixing techniques.
What happens because of this, is trying to invent unique and new approaches. There’s nothing inherently wrong with being creative in your mixes, thuog there’s also no reason to not take advantage of a simple and proven effective technique like referencing.
3. Using Solo Buttons for Everything
When listening to our mixes, we are focused on what is missing from individual sounds as well as how these individual tracks interact. Every recording has problems to overcome. Most modern DAWs have “solo buttons” that allow you to do this easily by muting all the other sounds. In theory, they can highlight issues faster by isolating issue tracks. However, that comes at a cost.
Consider what mixing is – combining various tracks and frequencies with each other. You are looking for a mix that combines the frequencies from the instruments in a unified way to produce your desired sound, whether it be punchy, clean, smooth, flat, aggressive or even a specific sound for rock music for instance. You can hear problems within your soloed “kick drum”, or “bass track” because those lower frequencies clash, and it’s easy to see the phase relationships at play. Although this may lead you to create changes to tracks that sound thin or flat in isolation, that doesn’t really matter as much when all the other tracks are playing too.
You’re listening in a way that does not reflect the intended format so the mix decisions can become bad.
My advice is to start small with your adjustments. Many new mixers crank knobs up to try and emulate what they hear on other “pro” mixes which almost never delivers the sound they want. Overcompensation can cause other issues such as those from too much reverb, not enough reverb or EQ. When checking to see how instruments blend together, a simple approach could make all the difference.
4. Adding EQ on Every Track
Almost every mixer has tried this – placing a graphical equalizer on an instrument or vocal and making lots of large boosts on every track sound. It makes your track sound much fuller. What this really means though, is your track just got louder because adding “boost” in one track increases those frequencies with the other affected tracks, like what happens in “the low mid range”, for instance. It’s easy to think “loud” means good since most engineers who are starting-out like to emulate what a radio or streaming service broadcasts.
You must know this is counterintuitive. In most modern DAWs each plugin or insert that affects your signal comes with a “gain” knob so there’s really no need to use EQ to boost levels unless there’s a valid reason to.
The more effective approach would probably be “Subtractive EQ”.
By removing the troublesome frequencies and relying on “gain” for those frequencies it becomes far less likely for other “common mistakes” such as clashing bass and leads to occur.
Every mix engineer needs to learn a great deal about what EQ does as well as “how it shapes tone”, because you may find that there are other ways to affect tone as well, by changing EQ on instruments near it.
5. Mixing With Poor Monitors
As mentioned earlier, many music producers or engineers starting-out often fall into the trap of spending tons of money to get the studio “essentials” only to discover that there is always a “more expensive” version with even more professional components available.
With studio monitors you could find yourself chasing the dragon endlessly as they can cost thousands of dollars a pair.
Although professional audio often requires professional monitoring you don’t actually need those super fancy expensive monitors right away and there are many options for those just starting out. When I’m buying monitors I find it helpful to listen to references with them because if the music you are listening to sounds bad from a speaker that claims to sound good then you can save money without worrying.
6. Ignoring Headroom
Managing the volume of a song starts long before any mix or mastering takes place. To achieve a great result you must start at the recording stage, because if you overload your pre-amps in your signal chain, there is no way to undo that.
You can make up for this shortcoming with mixing tools, but you are permanently removing dynamics and sound characteristics when recording begins with levels in the red. It’s essential that each track have the right volume level so there’s enough headroom. Even if you record at a lower volume, it’s easy enough to boost the signal level in the mix stage.
This doesn’t necessarily mean you can ignore volume control at the mixing stage, because you still need a good amount of space at the master. I recommend keeping your headroom around -6dB before sending to mastering, as it’ll give your mastering engineer more room to work with.
7. Applying Too Much Reverb
Applying too much reverb is one of the most common mistakes beginners make when mixing. While reverb can add depth and space to a track, overdoing it can drown your mix and make it sound muddy. Imagine you’re at a concert in a huge, echoey hall. If the sound engineer cranks up the reverb on every instrument, it quickly becomes difficult to distinguish one sound from another. Everything blends into a big, washy mess.
In the context of a home studio, you might be tempted to slap a hefty reverb on your vocals to make them sound more ‘professional’ or ‘ethereal.’ But instead of achieving that crisp, spacious quality you’re aiming for, your vocals might end up sounding like they were recorded in a cave. For example, think about recording a podcast in your bathroom with its natural reverb. It might seem cool at first, but soon you realize it’s hard to understand what’s being said because every word is smeared with echoes.
A good rule of thumb is to use reverb sparingly and with intention. Start with a small amount and increase it until it just adds a sense of space without overpowering the other elements of the mix. Sometimes, less is more. If you’re not sure whether you’ve added too much, try muting the reverb and gradually bringing it back in. You might be surprised at how little you actually need. Also, consider using a shorter decay time and pre-delay to keep the reverb from cluttering your mix.
Another trick is to use different types of reverb on different elements of your mix. For instance, a short, tight reverb on your snare can give it a nice punch without taking up too much sonic space, while a subtle, longer reverb on your background vocals can create a lush, ambient backdrop without overwhelming the lead vocals. By carefully selecting and tailoring your reverb settings, you can enhance the depth and dimension of your mix without losing clarity.
8. Applying Reverb to Bass Heavy Material
We’ve all heard that spacious, echoey sound in a song – maybe a huge drumbeat filling a stadium or a haunting guitar line in a spooky movie. As I said before, reverb can be a powerful tool for adding depth and atmosphere to your music. But here’s the thing: bass and reverb can also be worst enemies.
Imagine a band playing in a giant empty warehouse. The drums and cymbals would bounce around forever, but the bass guitar thump wouldn’t travel as far. Slapping heavy reverb on everything in that situation might make the drums sound epic, but the bass would get lost in the wash. In your mix, that can turn your bass from a solid foundation into a mushy mess.
So, what can you do?
Well, for super low bass lines (think dubstep or heavy metal), reverb might be best left alone. But if you’re after a subtler effect, try using a short reverb with the low-end frequencies rolled off. This creates a subtle ambience without turning your bass into a blurry echo.
9. Mastering Yourself
Being in complete control of your music is awesome, and mixing everything yourself is a great skill to have. But there’s a final step called mastering that can be a bit of a double-edged sword for beginners. Mastering is like putting the finishing touches on a painting – it tweaks the overall sound, loudness, and balance to make it sound professional.
The problem is, mastering requires a good ear, high-quality speakers, and specialized tools. It’s like trying to detail your car with just a bucket of soapy water. You might get it clean-ish, but a professional detailer with the right equipment will make it shine.
Think of it this way: you wouldn’t edit your own movie trailer after spending months filming, right? Mastering is similar. A mastering engineer has fresh ears and a treated room to hear exactly what needs adjusting to make your music sound its best across different sound systems. They can also ensure your track meets industry loudness standards, so it holds its own next to other songs on streaming platforms.
Don’t worry, this doesn’t mean you have to abandon your dream of mastering someday! But for now, focus on getting your mix sounding great. There are plenty of online resources and tutorials to help you learn the ropes.
10. Poor Acoustic Treatment in Studio
So you’ve got your headphones on, your favorite DAW fired up, and you’re ready to finish your track. But wait! Before you dive in, take a look around your recording space. While fancy gear can be tempting, acoustic treatment in your studio is a surprisingly important factor that often gets overlooked – especially by beginners.
Here’s the deal: sound bounces around in rooms, and untreated spaces can color your recordings with echoes, reflections, and muddiness. Imagine trying to paint a detailed picture in a room with flickering disco lights. That’s kind of what an untreated room does to your audio. Even the best mix engineers can’t combat phase issues or buildups in the frequency spectrum when working with a bad sound source.
Let’s say you’re recording vocals. In a boomy room, your voice might pick up extra low-end rumble. Or maybe you’re laying down some acoustic guitar tracks, but the room reflections make them sound distant and unclear.
The good news is that there are plenty of affordable acoustic treatment options, like sound absorbing panels and bass traps. These can help dampen echoes, tame room resonance, and give you a clearer picture of what your music actually sounds like.
Even some strategically placed furniture, rugs, and blankets can make a surprising difference. The key is to absorb some of those sound reflections and create a more controlled listening environment. By treating your room, you’ll be able to make better mixing decisions, record cleaner audio, and save yourself a headache (or two) down the line.
FAQs
FAQ 1: How to mix music for beginners?
Mixing basics involve balancing your instruments’ volumes and panning them for stereo placement. Use EQ to sculpt their frequencies and let them shine without clashing and add subtle effects like reverb and compression for depth and control. Make sure to take breaks often, reference professionally mixed tracks, and most importantly, have fun experimenting!
FAQ 2: What does good mixing sound like?
Every mix is different. If there were just one specific style and technique of mixing audio then producers would buy a magic mixing button.
With that said, there are some common characteristics of a good mix. Good mixing sounds clear, balanced, and engaging. Each instrument occupies its own space without fighting for attention, and the overall sound feels full yet defined with decent stereo width. It translates well to different speaker systems, doesn’t have noticeable phase problems, and lets the music’s emotion and energy shine through.
FAQ 3: How can I make my mixes sound more professional?
Here are a few tips to elevate your mixes:
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Focus on clarity: Aim for each instrument to be distinct and sit well in the mix. Use EQ to carve out space and avoid instruments clashing.
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References: Compare your mixes to professionally mastered songs to identify areas for improvement.
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Use compression strategically: Subtle compression can add punch and glue, but overuse can lead to a lifeless sound.
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Less is often more: Start with subtle adjustments and build from there. Over-processing can make your mix muddy.
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Take breaks and come back fresh: Your ears can fatigue during long mixing sessions. Take breaks and return with a renewed perspective.
Conclusion
Avoiding these newbie mistakes will put you on the fast track to creating mixes you can be proud of. Remember, mixing is a journey, and there’s always more to learn. But with the right approach and a little practice, you’ll be well on your way to crafting professional-sounding music.
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