Mixing music for the first time can feel overwhelming. With a huge range of concepts, terminology, and processes to understand, there’s a lot to familiarise yourself with if you’re in the early stages of learning how to mix music. What software do you need? What techniques should you know? And ultimately, how do you develop your recorded ideas into polished tracks?
Here on the Gear4music blog, we have many guides on music production, including how to mix rap and hip-hop vocals and our overall mixing tips and tricks, written by experts in the team. But if you’re looking for a one-stop shop for mixing music that covers all the basics, you’re in the right place.
In this step-by-step guide, we’ll break down the essential equipment, key mixing techniques, and processes you need. We’ll cover important music terminology before we head into the instructions, so you understand every concept referenced in this guide.
Our favourite software for mixing music
Pro Tools Studio Perpetual License
- Industry-standard
- 130+ stock plugins
- 512 tracks per project
- Support for Dolby Atmos
- Cloud Collaboration
FabFilter Essentials Bundle
- 3 plugins
- Industry-standard
- Modern interfaces
- Usable with all DAWs
- Great value for money
XLN Audio RC-20 Retro Color Plugin
- All-in-one multi-fx
- 6 independent modules
- Global Magnitude control
- Wide range of presets
- Intuitive interface
What is mixing in music?
Mixing in music is the process of manipulating individual audio tracks to create a cohesive and balanced sound. It ensures that every element of a song – vocals, instruments, and effects – fits together seamlessly, making the music sound polished and professional. Mixing is one of the most crucial steps in music production, helping to refine a track before it reaches listeners.
The goal of mixing is to produce a single stereo mixdown that translates well across different playback systems. Whether someone is listening through headphones, hi-fi systems, car speakers, or smartphone speakers, a well-mixed track should sound equally balanced and immersive. This means that no single element overpowers another, and all components of the music are audible and well-defined.
Mix engineers use various techniques and tools to achieve this. Volume faders control the loudness of each track while panning knobs position the sounds within the stereo field to create depth and separation.
Beyond volume and panning, other key components shape a mix. Tonal balance is adjusted using EQ plugins, sculpting frequencies so that each sound occupies its own space. Dynamic range, which is the difference between the loudest and quietest parts of a track, is controlled with compressors and limiters to create consistency and clarity.
Lastly, space and dimension are crafted using reverb and delay, adding depth to the mix and placing instruments within a three-dimensional sonic landscape.
Mixing vs. mastering
Mixing and mastering are two distinct stages in the music production process, each with its own purpose and approach.
Mixing is the first step – and the one we’re concerned with here – where you work with all the recorded tracks to sculpt and balance the individual elements, ensuring clarity and cohesion. Mastering is the final step in which the mix is refined to achieve a polished and professional sound that translates well across different playback systems.
A key difference between the two is the scope of the work. Mixing engineers work with multiple tracks, adjusting volume levels, panning, and applying effects such as EQ, compression, reverb, distortion, and saturation to shape the tone, depth, and dynamic range of each instrument or vocal. Their goal is to create a balanced mix where every sound complements the overall arrangement.
Mastering engineers, on the other hand, typically work with a single stereo file rather than individual tracks. They apply similar processing tools but with more subtle adjustments. Mastering focuses on enhancing key elements, controlling dynamic range, and eliminating harsh frequencies or muddiness that could interfere with clarity.
Another crucial role of mastering is quality control and loudness optimisation. Mastering engineers ensure that the final track is free of errors and meets industry loudness standards, making it sound professional on headphones, hi-fi systems, car speakers, and other playback devices.
Music jargon explained
| Term | Definition |
|---|---|
| Muddy/muddiness | An excessive build-up of lower midrange frequencies (typically around 200-500Hz). When too many instruments compete in this range, the mix can sound cluttered and lack clarity. This is a common issue in home recordings where untreated rooms and microphone techniques emphasise these frequencies. To fix muddiness, EQ is your best tool - subtly reducing problematic frequencies can create a cleaner, more defined mix where every element has its own space. |
| Sibilance | The harsh, high-frequency sound that occurs when vocalists pronounce words containing the “S” and “T” consonants. It can make recordings feel brittle and piercing, especially with modern condenser microphones. The best way to control sibilance is by using a de-esser - a specialised compressor that targets and reduces harsh frequencies without affecting the rest of the vocal. If necessary, EQ or multiband compression can also help in fine-tuning the mix to ensure a smooth and natural vocal tone. |
| Warmth | A smooth, rich, and slightly saturated sound, often associated with analog recordings. This tonal character comes from vintage equipment like tube preamps and tape machines, which naturally round off high frequencies and add harmonic distortion. In digital mixing, you can add warmth using saturation plugins, tape emulations, and subtle EQ adjustments. The goal is to make a mix feel organic and full-bodied while avoiding excessive harshness or sterility common in digital recordings. |
| Stems vs. multitrack | Stems are grouped tracks, such as a single stereo file that might contain all vocal tracks mixed together in one file. This could include all main vocals, backing vocals and even the vocal FX on one channel. Multitracks, on the other hand, are the individual channels of each instrument and vocal, such as each snare drum microphone or each guitar microphone channel. Stems are useful for remixes, archiving, or even mastering whereas multitracks are essential for full mixing control. |
| Frequency masking | When two sounds compete in the same frequency range, making one harder to hear. A common example is a bass guitar clashing with a kick drum, where overlapping low frequencies cause the bass to lose definition on every kick drum hit. To fix this, mix engineers use EQ to carve out space for each instrument or apply sidechain compression, allowing you to trigger a momentary reduction in volume of a track when another track is active. |
How to mix music
1. Develop and train your ear
Before making any changes to your mix, you need to train your ears to recognise good balance and clarity. Start by listening to high-quality reference tracks from your genre. Pay attention to how each instrument sits in the mix, the frequency balance, and overall dynamics. Importing a reference track into your DAW will help you compare your mix against a professional standard.
Next, listen to your raw mix multiple times, identifying problematic frequencies, overly loud instruments, and dynamic inconsistencies. Ask yourself: Are the vocals too bright? Is the bass overpowering? Are some instruments fighting for space? Additionally, consider which instruments should stand out in each section of the song, for example, vocals in a chorus or guitars during a solo.
Take notes so you can make informed adjustments later. The more you listen critically, the better you’ll become at recognising what makes a mix sound great.
2. Set up
Before you do anything, you need to make sure you’re set up correctly! The aim of mixing is to create a balance of all instruments and sounds within a song, so it’s best to be equipped with gear that lets you hear every detail of your track.
Here are some essentials you need to get up and running:
- Studio monitors: SubZero SZSM-4X Studio Monitors
- Studio headphones: SubZero SZ-MH200 Monitoring Headphones
- DAW: Pro Tools Perpetual License
If you have those, you should be good to make a start. For a more comprehensive setup that ensures every mixing decision is well-informed, here are our recommendations:
- Third-party plugins: FabFilter Essentials Bundle and XLN Audio RC-20
- Acoustic treatment: AcouFoam Room Kit by Gear4music
- Headphone calibration: Sonarworks SoundID Reference For Headphones
3. Organise your session
A well-organised DAW session helps you stay focused and mix efficiently. Start by labelling all tracks clearly and arranging them in a logical order (e.g., drums, bass, guitars, vocals). Colour-code your tracks to make navigation easier.
Next, group similar instruments into busses – for example, all drums into a drum bus or all backing vocals into a vocal bus. This makes it easier to apply processing to entire groups rather than adjusting individual tracks one by one. You should also set up FX channels for reverb and delay, so you don’t need to apply effects separately to each track.
If your track needs automation for volume or effects, add markers to highlight important sections. Lastly, if you intend on using sample reinforcement for drums and loops or cinematic risers and production elements, add them to your project before you start mixing.
4. Adjust levels
Start by balancing the drum kit – adjust the kick and snare first, ensuring they cut through clearly. If it’s a rock mix, the kick and snare will be most prominent, while in pop or electronic music, the hi-hats and percussion may play a bigger role. Next, adjust bass instruments, ensuring they support the rhythm section without overwhelming it.
After that, balance midrange instruments like guitars, keyboards, and synths, then bring in vocals and high-frequency elements. A good tip is to start mixing from the busiest part of the song so that you don’t run out of headroom later. Throughout this process, compare your mix to your reference track to make sure your levels are consistent with professional standards.
5. Apply EQ
Once your levels are balanced, use EQ to shape the tonal balance. Start by using subtractive EQ – remove harsh high frequencies (3-5kHz), muddy low-mids (250-500Hz), and boomy low-end (100-200Hz). This creates more space for each instrument and improves clarity.
Once problem frequencies are addressed, use boosting EQ sparingly to enhance key elements. For example, a slight boost around 10-12kHz can add sparkle and shimmer, a 60-80Hz boost can give a kick drum more punch, and 800Hz-2kHz boosts can add presence to vocals or guitars.
EQ also helps with frequency masking – if two instruments clash, carve out space so they don’t compete. Just like when adjusting levels, it’s important to check with your reference track to ensure you’re not applying too much EQ.
6. Set instruments in the stereo field
Panning instruments correctly creates width and immersion in your mix. Keep the bass and lead vocals in mono to maintain a strong centre image; this can lead to improved stereo image by ensuring the side channels aren’t being overwhelmed with low-end information.
Double-tracked guitars should be panned 100% left and right for a full stereo effect, while single guitars should sit around 60-75%. Drum overheads and cymbals should be panned between 75-90%; but the further you pan, the more they may sound disconnected with the rest of your kit. It’s important to then pan your tom drums to where they sit in the overhead microphones to avoid phasing issues.
Keyboards and synths should be positioned just off-centre (25-40%) to leave space for vocals. Production elements like loops and samples can be placed dynamically, but be mindful of their impact on clarity.
7. Shape dynamics
Dynamics processing, primarily compression, helps maintain a consistent level and punch across a track. Too many dynamics will lead to volume levels bouncing around too much, causing a distracting listening experience.
Start by compressing drum elements – applying moderate compression to the kick, snare, and toms for punch and control. Room mics can handle heavier compression for an explosive sound full of character. Bass instruments need a consistent level to maintain a good foundation for the track, so use strong compression to smooth out performance inconsistencies.
If the bass and kick drum are competing for too much space, use sidechain to carve space between the instruments. Vocals are very dynamic and require the most compression – set a ratio of around 4:1, with a fast attack and automatic release to ensure they remain present throughout the mix.
Once compressed, vocals will require further dynamic processing with a de-esser to tame the excessive sibilance brought up with heavy compression.
For added impact, consider the advanced technique of parallel compression by sending elements of the drums, vocals, and bass to an additional compressor and blend in with your main channels.
8. Create space and add expression
Now that your mix is balanced, it’s time to add creativity to the mix. Experiment with using reverb, delay, distortion, and automation to add depth and dimension to your mix. To bring space to your percussion instruments, apply plate reverb while using room or hall reverb for instruments and vocals. Avoid using too many reverb types, as they can clash.
Experiment with saturation. Adding smooth tape saturation to vocals can soften harsh highs while adding crushing distortion to drums can give them weight for breakbeats.
Automation is crucial for keeping a mix exciting. Slightly raise the volume of lead instruments in choruses, reduce background elements in verses, or automate reverb tails for dynamic transitions. Subtle automation can add the final 5% of polish that makes your mix stand out.
9. Take a break!
Mixing for too long can lead to ear fatigue, making it harder to make objective decisions. To avoid this, take regular breaks; step away from the mix for at least 10 minutes every hour. Listening to your mix at different volumes or through different speakers can reveal issues you didn’t notice before. If you’ve been mixing all day, take an extended break and revisit your mix the next day with fresh ears.
Sometimes, a fresh perspective is all you need to identify small improvements that make a big difference.
10. Export and prepare for mastering
When your mix is done, export it in a lossless format like WAV or AIFF. Avoid normalisation and dithering, as these should be handled in the mastering process. If sending to a mastering engineer, ask if they prefer stems or a single stereo file. Properly preparing your mix ensures the best possible final result when it comes to mastering.
Our mixing advice
You can’t fix everything in the mix
Though many magic production techniques are possible when mixing, you can’t fix everything. There are certain things that you can’t fix in a mix. For example, poor performances, timing, or tuning errors should be re-recorded wherever possible. Bad sounds that work in solo might not work in a mix, so don’t be afraid to change samples or sounds to work in your mix.
Don’t mix your bass first
Because of how our ears adjust and perceive audio, mixing bass first for long periods will mean you will inadvertently mix everything after with far too much bass as that’s what your ears have adjusted to. Mixing bass for long periods will also lead your ears to become fatigued much faster, leading to poor mixing decisions.
Turn it down
A simple rule of thumb – avoid the red. When mixing in the box, don’t let your channel levels go into the red zone. This goes for your busses and master output as well! Driving your channels into the red will introduce unpleasant digital clipping and won’t allow for enough headroom to get the punch and loudness from the mastering process.
Don’t rely on solo
Avoid relying on the Solo function when mixing. The main mixing objective is to fit everything together, not create stellar standalone sounds. Mixing in isolation can lead to overmixing, resulting in unnatural sounds. You also risk eating up frequencies occupied by other mix elements causing a muddy undefined mix.
Don’t mix on a single pair of speakers
The system you’re mixing on isn’t the system that everyone will listen to your music on. Reference your track on as many systems as possible, from headphones and studio monitors to home hi-fi systems and even your car speakers. This will give you a more accurate representation of how your mix will translate across multiple playback systems.
FAQs
Can I teach myself to mix music?
You can teach yourself to mix music, but understanding key fundamentals will accelerate your learning. Experimentation and practice are the key factors in developing your critical listening and mixing skills. Additionally, online courses and tuition can be used to further develop your mixing skills.
Is it hard to mix music?
Mixing is one of the most difficult skills to master in music. In this guide, we’ve shown you the basics of mixing, but it can take years of practice and patience to develop the mixing skills needed to balance every element of the mix in volume level and frequency range.
What is the easiest music to mix?
The easiest music to mix is that with a repetitive beat such as house or techno music. This type of music also tends to have a thinner texture, meaning things get less cluttered and muddy, making for an easier mixing session than you would get with other genres.
Final thoughts
Knowing how to mix music is essential for any producer. It can be difficult and seem like a minefield when you’re getting started, but bookmark this article and keep it by your side as you work through each step – you’ll soon be a natural.
Eager to learn more about music production? Check out some of our other guides:
How To Master a Song In 9 Easy Steps
Our Favourite Mixing Tips and Tricks
What is EQ in Music? Here’s How to EQ Your Mix
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