How To Prepare Audio Files For Mixing

Getting a song combined can be both a thrilling and terrifying activity. You’ve invested too much time ensuring that you’ve made the finest work; now it’s time to bring it all together and give it the polish it requires to make an impact when it’s eventually published.

As a musician, you must prepare in advance to ensure that a mix runs smoothly. As a mix engineer for several, I’m here to help you get the mix you like by giving you some tips about how to prepare audio files for mixing.

1. Before bringing something in to be combined, make sure all of the production and voice takes have been edited and finalized

Only high-quality recording of the original takes to be included in the final mix can be sent to the mix engineer while submitting stems for mixing. The role of the mix engineer is to take whatever you gave him to make it sound as good as it possible can. It is not their responsibility to work as a director for you, selecting and editing the best takes. That should’ve been completed by now.

As a result, you can just include the absolute required and final takes for mixing – no alternative takes or combinations should be allowed for usage.

2. Ensure that all of the files are registered correctly and without clipping

Although a mix engineer can do a lot with an album, they can’t do anything if they aren’t provided the right materials to deal with. This involves ensuring that all files are correctly registered, with enough headroom (usually -6db) for each track, and that no files are clipping (track volume going into the red).

A mix engineer can’t repair anything that’s wrong during the mixing process; what they can do is optimize what’s already there, so make sure the tracks are well recorded. If you are unable to do so for any cause, expect a mix that could be faulty due to reasons outside your mix engineer’s influence.

3. Assemble all files such that they begin and finish at the same time

Consolidating audio files for mixing entail taking several individual audio clips from a single track and merging them into a single file, with silence filling in the holes. Since you may be submitting your song to someone who mixes it with a particular DAW and setup, it’s important that the files you submit are consolidated.

Ensure that both of these merged audio clips begin at 0:00 and finish when the song does. This ensures that the mix engineer will load the files into their setup and that all of the instruments and vocals line up and perform at the same times they should on the grid.

4. Make sure all of the files you’re submitting are well-organized and numbered

Sending files with common titles like audio files for mixing 1, audio files for mixing 2, and so on is never a good idea. Not only is it inconvenient, but it often takes a lot of time for the engineer to figure out that they have to go through each specific disk, listen closely, and rename them only to get the session set up.

This is counterproductive; the mix engineer should be concentrating on mixing and making clever decisions to improve the sound of the album, not wasting an hour trying to find out what’s what, marking, and keeping prepared.

Make sure files are well ordered and numbered so your mix engineer can concentrate on making the best mix possible for you.

5. Before sending the vocals into the mix, make sure they’re tuned

Vocal tuning, in my view, belongs in the same genre as compilation and editing. It is something that can be performed prior to mixing rather than during the mixing phase.

Not every mix engineer tunes vocals, even if they do, it’s an extra cost not included in the mix. Be sure you discuss this with your mixing engineer, and don’t think that just because they’re mixing your album, they’ll tune your vocals.

6. Send WET and DRY versions of files

I’m talking to files that have effects printed on them (WET) and files that don’t have any effects printed on them (DRY) (DRY). Reverb, delay, vibration, EQ, compression, and other effects may be included.

It’s better to have both versions in different directories with specific labels while having tracks ready for mixing, so the mix engineer will use any edition while mixing the album.

If they can’t get the same reverb you had on a snare, they can use the WET variant in the mix without needing to query you about it if you provide them with WET and DRY files. This will save you time in the future and help you move closer to the combination you like.

7. Have a PDF sheet with relevant session details such as BPM, song key, lyrics, and some other reminders to keep in mind as you finish the mix

While many engineers use specialized software like Mixed In Key to assess some of this detail, it’s preferable to go the extra mile and put it in a PDF to reduce the margin for error. Remove much of the guesswork for the engineer to ensure that they provide all of the knowledge they need to complete the task. Even anything as plain as using the wrong pace during the mix will cause a number of problems.

If you have any special questions or suggestions for the combination, make a mention of them in the folder. For eg, you may want a specific voice to have minimal to no reverb, or you might want a specific instrument to be handled and articulated in a specific manner. Don’t believe the engineer understands the vision; inform them up front and simply so they can assist you in getting there quicker and more easily.

When I have a new album to mix, the first thing I do is listen to the artist’s comparison mix. Sure, it does not sound the best it should, but there is always a vibe there that I need to pay attention to retaining, or at the very least, it helps steer me in the right direction.

As a result, if at all necessary, submit a comparison mix of the song you’re getting mixed as a high-quality WAV. This is normally the most recent iteration of the mix, usually from a recording session with some FX and uneven balances.

8. Send a reference mix of the album you’re mixing, even though it’s only a rough sample

9. Send files using a program like WeTransfer, DropBox, Google Drive, or similar

When you’ve gathered all of your data, you’ll need to find out how to bring them to your mix engineer so they can get to work.

Conclusion

Some aspects of the music-making phase are glamorized, whilst others are overlooked. Mix planning is a time-consuming procedure that is often overlooked. Since the customer ignored several of the aforementioned criteria, I’ve had several mixes take me multiple hours just to set up.

Take my advice above to save time, resources, and prevent miscommunications with your mix engineer, and share this article with your artist mates to assist them with their next mix.