Goal
The complete mix before mastering: all the instruments, effects, automation. It must already sound good at normal volume and on multiple systems: the master improves, it doesn't rescue.
Step-by-step procedure
1. Static balance
- With all the tracks, faders and sends set on the densest section. Priority: lead vocal (or main element) → kick and snare → bass/808 → harmony → melodies → pads → effects.
- Quick test: turn everything down to a very low volume: vocal, kick, snare and bass must stay audible. Then turn it way up: no element should become annoying.
2. Panning and image
- Center: kick, bass/808, snare, lead vocal. Balanced sides (see "Stereo image"). Mono bass below 100–150 Hz.
3. Space and depth
- 2–4 reverb sends (room, plate, hall) and 1–2 tempo-synced delays; equalized returns (HP 150–400 Hz, LP 6–10 kHz); ducking where needed.
- Depth: elements in front (drier, brighter, more compressed) and behind (more reverb, fewer highs, lower in volume).
4. Bus and mix bus processing
- Drum bus, bass bus, music bus, vox bus with light glue (1–4 dB).
- Mix bus: glue 1–2 dB (SSL 2:1, attack 10–30 ms, auto), optional color EQ and light saturation. No limiter in the premix you send to mastering (you can use one just to listen at reference loudness and then disable it).
5. Automation
- Vocal ride, volumes per section, delay throws, reverbs per section, transition filters, width (see "Automation").
6. Comparing with references
- 2–3 tracks in the genre on a track outside the master chain, loudness-matched to the premix (use the meter: lower the references to the premix's level, not the other way around).
- Compare: vocal level relative to the music, weight of the low end, brightness, width, depth, shape of the sections.
7. Listening on multiple systems
- Monitors, headphones, earbuds, phone (mono!), car, Bluetooth speaker. Take notes and fix only what repeats across multiple systems.
- Listen at low volume and after a break (rested ears).
8. Technical check
- Mono: everything remains audible, loudness drop no more than 1–3 LU.
- Clicks, noises, cut-off tails, wrong notes, plugins in demo mode (periodic noises), forgotten automation.
9. Premix export (FL Studio)
- File → Export → WAV: 24 bit (or 32-bit float if mastering accepts it), project sample rate, maximum resampling quality, Tail: Leave remainder (tails aren't cut off), Full song (Song) mode, insert effects active; master effects disabled (or empty master) if you're sending to a mastering engineer; active if you master it yourself in a separate project starting from this file with no chain.
- 1–2 seconds of silence before and at least 2–3 seconds after the tail.
- Name: "Title_premix_v3_24b_48k.wav". Note the BPM, key, notes for mastering.
Target values
| Parameter | Value |
|---|---|
| Premix peak | −6/−3 dBFS (sample peak), no clipping |
| Integrated loudness | about −20/−14 LUFS |
| Crest factor / PLR | 12–18 dB |
| Correlation | +0.2/+0.8; below 150 Hz > +0.9 |
| Width per band | increasing from the bass to the highs |
| Short-term per section | chorus/drop 1–4 LU above the verse |
| Spectrum | shape similar to the references (at equal loudness) within ±2–3 dB |
What to listen for
- Balance: vocal, kick, snare, bass clear; no element jumping out.
- Depth: foreground and background planes distinguishable.
- Stereo: solid center, full sides, mono-compatible.
- Sections: the chorus rises relative to the verse; the drop has impact.
- Transitions: fills, risers, breaks work.
Link with pre-production
Note every problem: of arrangement (too many instruments in the same region), of sound design (sounds too wide or too low), of mix. It's the foundation for the next song.
Common mistakes
- Sending a premix with a limiter or with peaks at 0 dBFS to mastering.
- Correcting in the master what should be corrected in the mix.
- Comparing with references at different loudness.
- Listening only on headphones or on a single system.
Starting settings
| Parameter | Value | Why |
|---|---|---|
| Premix peak | −6/−3 dBFS | Headroom for mastering. |
| Integrated loudness | −20/−14 LUFS | Dynamics intact. |
| Mix bus | Glue 1–2 dB, no limiter in the file you send | Mastering has room to work. |
| Export | 24-bit/32 float WAV, project sample rate, Tail: Leave remainder | Quality and complete tails. |
| Silence at start/end | 1–2 s before, 2–3 s after the tail | Fades and editing in mastering. |
Frequencies to watch
| Range | What to do |
|---|---|
| Below 40 Hz | Musical sub only (kick/808); no rumble. |
| 40–150 Hz | Mono and stable low end across sections. |
| 200–500 Hz | Typical mix buildup: compare with the references. |
| 2–5 kHz | Clear vocal without harshness; listen at high volume. |
| Above 10 kHz | Air consistent with the genre. |
Example chain
| Step | Tool | Settings | Why |
|---|---|---|---|
| Balance and pan | FL Mixer | Priority per element | Foundation of the mix. |
| Space | Fruity Reeverb 2, LuxeVerb, Fruity Delay 3 sends | EQ and ducking on the returns | Depth. |
| Buses | Bus glue and saturation | 1–4 dB | Cohesion. |
| Mix bus | SSL G / Fruity Compressor + color EQ | 1–2 dB | Cohesive mix. |
| Automation | Automation clip / Fruity Balance | Rides and sections | Living mix. |
| Metering and references | Emphasis (meter only) / Youlean / Wave Candy / Spreader | LUFS, peak, correlation | Objective verification. |
How to check the result
- Premix peak between −6 and −3 dBFS; no clipping.
- Integrated loudness −20/−14 LUFS.
- Premix crest factor 12–18 dB.
- Mix correlation +0.2/+0.8; below 150 Hz above +0.9.
- Stereo width per band increasing from the bass to the highs.
- Spectral curve similar to that of the genre's references (at equal loudness).
- Short-term LUFS: the sections follow the form (chorus 2–4 LU above the verse in pop genres).
- Exported file with complete tails and silence at the start/end.