Goal
Turn the production project (or the received tracks) into an orderly mixing session: every element identifiable, correct starting levels, routing ready, references loaded, no unnecessary processors. A well-prepared session saves hours and makes every later decision reversible.
Step-by-Step Procedure
1. Gathering the Material
- Audio tracks as 24-bit WAV (or 32-bit float) at the project sample rate, all with the same start point (from the beginning of the song, even if the track comes in later).
- The producer's or artist's reference version (rough mix): it is the starting idea to respect or surpass.
- BPM, key, structure with section timings, any notes on the desired sound.
- For FL Studio projects: decide whether to mix in the original project (editable synths and samples) or in a new project with the printed tracks (lighter and more stable). For a long mix it pays to print heavy synths and creative chains that are already decided.
2. Printing the Tracks (If Starting from the Production Project)
- Each instrument on its own mixer track; export with "Split mixer tracks" at 24-bit or 32-bit float.
- Print the effects that are part of the sound (lead distortion, automated filter, creative sidechain); leave without space effects (mix reverbs and delays) whatever needs to be balanced in the mix.
- Check that no exported track clips (in 32-bit float there is no internal clipping, in 24-bit there is).
3. Organization
- Fixed order, always the same: drums (kick, snare, clap, hat, percussion, overheads/room, loops), bass (808, bass, sub), harmony (piano, guitars, pads), melodies and leads, vocals (lead, doubles, harmonies, ad-libs), FX.
- Short, clear names, colors by group, mixer in the same order as the Playlist.
- Delete empty tracks and duplicates; put unused takes in an "Archive" group (muted).
4. Routing
- Group buses (drums, bass, harmony, lead, vocals, FX) → "Mix" track → Master (see "Buses, Groups, and VCAs").
- Sends ready: short reverb (room/plate 0.8–1.2 s), long reverb (hall/plate 1.8–2.5 s), dotted 1/4 and 1/8 delay, drum parallel compression. Returns at a low fader level until needed.
- Reference track routed outside the mix bus chain.
5. Starting Gain Staging
- Each track with a peak of −12/−6 dBFS and an average around −18 dBFS RMS (Fruity Balance or clip gain, not the fader).
- All faders at 0 dB at the start: balancing comes afterward.
- Master free of processors; meters only (loudness, peak, spectrum, correlation).
6. Initial Listening and Mix Plan
- Listen to the whole song twice without touching anything, with the rough mix alongside.
- Write down: the main element of each section, obvious problems (noises, phase, tracks out of time or out of tune), strengths to preserve, 2–3 commercial references.
- Measure the rough mix: loudness, peak, spectrum. These are the starting values to compare against at the end.
Target Values at the End of Preparation
| Element | Value |
|---|---|
| Peak per track | −12/−6 dBFS |
| Average level per track | about −18 dBFS RMS |
| Sum peak (faders at 0, no processors) | below −3 dBFS; if it exceeds that, lower all tracks by the same amount |
| Raw sum loudness | −20/−14 LUFS |
| Format | 24-bit WAV or 32-bit float, project sample rate |
| Aligned tracks | All from the same start point |
Common Mistakes
- Starting to mix without having listened to the whole song.
- Tracks imported with different starts: out of sync.
- Initial sum already at 0 dBFS: every plugin works beyond its intended point.
- Leaving production presets on the master in the project (limiter, maximizer) that skew every judgment.
- No references: decisions are based on the ear's habit.
Starting settings
| Parameter | Value | Why |
|---|---|---|
| Track format | 24-bit WAV / 32-bit float, same start | Sync and quality. |
| Peak per track | −12/−6 dBFS | Headroom for the processors. |
| Average per track | −18 dBFS RMS | Working level of analog-emulation plugins. |
| Raw sum | Peak below −3 dBFS, −20/−14 LUFS | Headroom on the mix bus. |
| Basic sends | 2 reverbs, 2 delays, 1 parallel | Consistent, ready-made space. |
| References | 2–3 tracks + rough mix | Direction of the work. |
Frequencies to watch
| Range | What to do |
|---|---|
| Below 30 Hz | In the raw sum: if there is a lot of rumble, note which tracks produce it; it gets cleaned up in EQ. |
| 200–500 Hz | First assessment of mud in the raw sum, to note in the mix plan. |
| 2–5 kHz | First assessment of harshness: which elements are competing for this zone. |
Example chain
| Step | Tool | Settings | Why |
|---|---|---|---|
| Import and printing | Export Split mixer tracks / import into the Playlist | 24-bit WAV, same start | Working material. |
| Organization | Mixer and Playlist | Names, colors, order | Quick orientation. |
| Gain staging | Fruity Balance / clip gain | Average −18 dBFS RMS | Starting levels. |
| Routing | Buses, sends, Mix track | Fixed structure | Working by groups. |
| Measurement | Youlean / Wave Candy on the Master | Loudness, peak, spectrum | Starting values. |
How to check the result
- Raw sum exported: peak below −3 dBFS and integrated loudness between −20 and −14 LUFS.
- No track with a peak above −6 dBFS or an average below −30 dBFS RMS (out-of-range levels).
- Rough mix measured and noted (integrated, maximum short-term, peak, correlation, energy per band) for the final comparison.
- Raw sum spectrum: note the bands that deviate by more than 3 dB from the references at equal loudness.