If we were to define "mix" with a single word, it would be balance. This means that we aim for the raw recorded tracks to sound as cohesive and harmonious as possible, ensuring that the final sound effectively presents the content. When mixing, there are two crucial aspects:
The “Craft” Aspect
This is the technical part of mixing that can be objectively evaluated. The goal is to balance the individual elements of the mix so that the result sounds even, clear, and energetic. Everything should be in its right place, with no element overpowering or masking another. The objective is to create a final product that does not distract the listener from the content due to unclear or disruptive elements.
The “Artist” Aspect
While mixing can be seen as a purely technical process with predefined steps, the opposite is true. Every sound engineer has their own approach, vocabulary, and vision for the final result—just as the original creator of the work does. In other words, the second part of mixing is entirely subjective and reflects the perspective of the person shaping the recording. This aspect plays a key role in emphasizing the message or emotion that the artist intends to convey.
What makes a good mix?
This question is simple, but the answer can be quite extensive. From a technical perspective, a good mix is one that sounds great on any listening device it is played on. Our goal is for the mix to translate well across all playback systems.
Imagine different listening scenarios: earbuds, a car stereo, a mobile phone speaker, or a high-end stereo system. These are vastly different environments, yet the mix should hold up in all of them. The only certainty we have is that no one will hear our mix under the same controlled conditions as in the studio where it was created.
A hallmark of a good mix is that it sounds great no matter where it is played.
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1,000 Steps = 1 Result
Why is mixing both simple and complex? The final sound is shaped primarily by a relatively small number of fundamental elements (which we’ll explore later in this series). The two most critical factors are dynamics (volume and its variations) and frequency. Most mixing processes revolve around these two parameters in some way.
These fundamental concepts are used in virtually every aspect of mixing. However, beginner engineers sometimes fall for what I call the “Golden Plug-in Myth.”
What is the Golden Plug-in Myth?
It’s the belief that simply inserting the “right plug-in” or selecting the perfect preset (or even an AI-based tool) will instantly result in a great mix. If mixing were that easy, anyone could do it effortlessly. But reality is more complex.
Mixing is built through a series of small, strategic decisions. We reach the final result through incremental steps—there are no shortcuts, no magical solutions that will instantly make a mix come alive.
Every Mix is Unique
The essence of mixing is blending all its elements in a way that forms a cohesive and harmonious whole. However, every situation is unique.
If we consider the entire chain of factors involved—genre, song arrangement, musician’s performance, instrument sound and condition, room acoustics, microphone choices and placement, and more—we end up with a one-of-a-kind combination of influences. This means that every mix requires a tailored approach, adapting to its specific characteristics.
distortion in the recording) becomes a deliberate production choice.
It’s no surprise that distortion is often applied to vocals or elements like cymbals. The creative use of distortion, applied in places where we might not initially think to use it, can shape the overall production direction and result.
The First Two Hours Are Crucial
Another challenge we must consider is our ability (or inability) to maintain a big-picture perspective on the mix. Naturally, as we work, we tend to focus more and more on finer details. While this is essential—since small details can hold hidden gems—we must also keep the overall mix in mind. The goal is always to blend all elements into a cohesive whole.
One of the world’s most renowned mix engineers, Chris Lord-Alge, often mentions in interviews that he aims to get the foundation of the mix under control within the first two hours. This helps him maintain a clear vision of where the mix is headed without losing sight of the bigger picture.
Of course, mixing can take longer. But the sooner we establish the core sound and main direction of the mix, the greater the chance of avoiding unnecessary distractions and successfully completing the mix without getting lost in minor details.
When is a Mix Finished?
This leads us to another important question: “When is a mix truly finished?” Here, we encounter a common trap—the tendency to keep tweaking and revisiting details that often have little impact on the final result.
A popular saying in the industry is: “A mix is never finished, only abandoned.” To some extent, this is true. The best safeguard against endless revisions is either a firm deadline (the ideal solution) or a structured workflow that we trust.
If we develop a clear process—knowing what steps to take and in what order—we can be confident that we’ve made all the necessary adjustments and that the mix is properly refined.
Mixing is a Living Process
Of course, a mix is not static—it’s a dynamic, evolving piece of work. For example, if my usual workflow involves shaping the mix with EQ and compression first, but I suddenly get a strong creative idea to add a specific reverb that I can already hear in my head, it’s best to act on it immediately. Creativity should take priority in moments like these, even if it deviates from the standard order of operations.
Knowing When to Let Go
Finishing a mix isn’t about crossing a clear finish line—because that line doesn’t really exist. Instead, it’s about trusting our process and having the courage to walk away, knowing that we’ve done everything necessary to achieve the best possible result.
Where to Start a Mix?
A mix can be started by focusing on the most important elements first and gradually working towards the simpler sections.
How to properly write a song? How to play a C major chord on the guitar? How to sing a chorus correctly? We often ask ourselves these questions, but they are, in fact, misleading. Of course, within our specific situation, we are always looking for the best possible solution—but that solution can vary each time.
In every field, we encounter situations that don’t have a single correct answer (e.g., Should I use a compressor first, or an equalizer?). We simply need to evaluate which approach will be the best in a given moment.
The same applies to mixing. Let’s take a look at where to start the mix from the perspective of its content.
All of the methods mentioned below are valid. We always listen to what the mix is asking for. It’s common to jump between different methods within the chosen approach. Each method has its own advantages and disadvantages, and each will guide us through the mix in a unique way.
Left to Right Mixing
The most common method in home studios is the left-to-right approach. Simply put, you start the mix with the first track and gradually add the others as they appear sequentially in the mix. Typically, you begin with the kick drum, move to the snare, and continue until you’ve worked through the entire mix.
You adjust the mix by gradually bringing each track into the process. This method works well for simple mixes where you know from the start what you want to do with each element. In other words, it requires a clear understanding of the entire mix from the beginning so that you don’t have to make significant adjustments later when new information arises from other tracks.
Mixing from the Most Complex Section
Sometimes, it may be best to start the mix from the most complex part of your track. This approach allows you to address the biggest challenges right from the start, ensuring that the overall mix will be more balanced. Whether it’s a complicated rhythmic section or a part with the most instruments, begin here and then work your way toward the simpler sections.
This method has the downside that the work on the mix isn’t continuous. The left-to-right approach offers a better overview of how the different parts of the track flow into one another. It helps you understand the contrasts within the mix and gives you a better sense of how the mix progresses from beginning to end.
Mixing from the Most Important Information
This approach focuses on setting priorities within your track. Not every element in a mix holds the same level of importance. Decide which instrument or vocal is the most critical to your song and begin by mixing these elements first. Then, progressively move down the hierarchy of importance in your mix, ensuring that the key elements remain at the forefront.
By using this method, you essentially “build” the mix around the parts that you want to highlight the most, keeping the main information of the track clear and prominent.
Top-Down Mix
A completely different method is the top-down mix (loosely “mix from top to bottom”). We can view the mix space as being divided into three layers: individual tracks, (instrumental) sections, and the entire mix.
When we structure the mix this way, instrumental sections (e.g., full drum kit) are sent to a grouping bus (Aux, Group, etc.), and these sections are then routed to the master output. This creates three metaphorical layers or points where we can influence and adjust the sound.
Top-down mixing starts with setting the sound at the highest level, which is the master output of the mix. Here, we can shape the entire mix all at once. In the second step, the mix can be adjusted within the instrumental sections, and then we move on to individual tracks.
This approach allows you to quickly achieve a cohesive sound for the entire track and then focus on the details of the individual tracks.
Another method is the top-down mix. Here, we start with the entire mix and then move toward smaller sections.
As mentioned earlier, these methods can be combined— for example, you can start mixing from the most complex part and then switch to a top-down approach. No method is inherently better or worse; each one leads us to the final result.
