MIXING FEEDBACK

What do you get?

  • Detailed feedback on your mix, including sound/instrument choice, volume balance, frequency balance, depth, effects, song structure, and more.
  • A mix 'grade' so you can pinpoint where your mix is on a beginner to professional scale.
  • Precise suggestions on the steps needed to improve your mix grade.
  • One 'mix re-submission', to check how the feedback was implemented.
  • See below for an example of one of our mix feedback's.

 

Mixing Feedback Studio

How To Order

  • Attach your mix (one song only) wav or high quality mp3 and fill out the form
  • Click 'Add To Cart'
  • Make Payment
  • You will receive your detailed mixing feedback within 2-5 working days via email
  • Any re-submissions will take an additional 2-5 working days
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Mixing Feedback Example

This is a typical example of a mixing feedback form. It should give you an idea of the level of detail to expect

 

 

MIX FEEDBACK

 

Producer: Aston

Track: Make My Day

 

DATE - 25/04/2022

 

Reviewer's Name - Jon Merritt

 

Current Mix Grade 1-10 (1 = Beginner, 10 = Pro): 7

 

Opening Remarks (if required):


Current mix level is good, with the below tweaks it could be a 9-10. To make it a 10 the track will likely need to be mastered.

 

Element Selection Feedback:


Almost all the elements are great and have their own natural separation i.e. are different enough in frequency and timbre that the mix sounds uncluttered and yet full sounding. The only exception to this is the vocal which IMO needs further tweaking.


Vocal tweaking - In order to make this mix a 9-10 the vocals will either need further pitch correction to really tighten them up + some minor timing adjustments, to again tighten up the performance; or perhaps, it may be worth considering going back to the comping stage and selecting different takes (if possible (it may not be depending on what recordings you have)). I think that it is possible to improve the vocals enough with extra processing to make this mix a 9-10, but if this does not bring the results, then it might be necessary to consider re-recording the vocals to get a better and more consistent performance.

 

Overall Volume Balance:


Drums: The kick needs to be around 10-15% louder to balance the impact of it against the rest of the bassline. I also suggest increasing the amount of side chain compression by around 10-20% to help the kick cut through the mix. The rest of the drums are at a good level.


Instrumentation: The balance of all of these is really good, nothing too quiet or too loud, each sound has a decent impact in the mix. Apart from the increase in sidechaining suggested above, this is all fine.


Vocals: The vocals could be a touch louder, maybe 10-15%. As the volume is increased I would increase the amount of reverb (also 10-15%) to balance it in the mix. Adding additional reverb will allow you to push the volume more and it should still retain its place in the mix nicely.



Overall Frequency Balance:


Drums: The kick sounds good, but this may change as you adjust the sidechain compression levels. The snare could have a slight boost at around 300-800hz to give it some low mid punch (around 2-4dbs). If that upsets the balance of the snare too much, try a slight boost at around 2000-5000hz to bring back some of the presence (may or may not be necessary). I would also try a high shelf on the entire drum group from about 4000hz, and a 1-2db gain just to help bring out the sparkle of the drums.


Instrumentation: I feel like this is as good as it can be. Although you use a few different instruments to make up the lead/bass sound, all the sounds are well balanced and nothing stands out as too bright or too dim. Nice job :)


Vocals: I would try a dip at around 500hz to remove the very slightly boxy sound out of them; this should also help you be able to push them a little louder as suggested. See what they are like after turning up; you could try a slight high shelf of around 1-2db from 5000hz upwards, but i’m not sure it will be necessary with the volume increase.



Depth & Stereo/Mono Analysis:


I don’t detect any reverb on the kick, but if there is any, I would remove it completely to help the kick cut through as much as possible. The small amounts of reverb on the bass/lead sounds are great, not muddy at all. The rest of the mix sounds good from a depth point of view so I don’t have any further suggestions on that.


The stereo/mono mix is absolutely fine. A couple of the bass/lead sounds loose a little volume in mono compared to the other sounds, but the change is minimal and nothing of concern.


As the balance of frequency and timbre is good, there is no need for additional panning, and the stereo effect of many of the sounds is enough that it all sounds nicely stereo without having to pan things all over the place.



Effects Analysis:


There is nothing that stands out as being wrong here, or that I would suggest you add.


If, when you go to turn up the vocal and you find that the reverb on it’s own is not completely pleasing, you could try increasing the delay mix very slightly, but this will require some experimentation.



Song Structure Feedback:


I really like it as it is for an album track. It’s nice and punchy, it teases the first chorus with only 8 bars of it, and the bridge really works to bring the second half in again.


If you want this to be the radio edit the structure is almost ideal, but I would suggest starting the song with a 4 bar intro which has a part of the chorus section. So, hook line (or a part of it) and the lead melody (but in a reduced form), no drums, or at least minimal drums. Something like that, as this makes the song instantly recognizable. That’s the only change I would make



Second Revision Feedback:


Great work making the changes, the mix is now an 8.5-9. Just a couple of minor tweaks and we should be ready for mastering.


Kick: As the bass volume has been reduced when the kick plays with the addition of more sidechained compression, the kick needs a slight bass boost to the sub frequencies. This is best achieved with a sharp boost at 50hz (as shown below). Probably about 3-6db in gain. This will help increase the sub punch without adding messiness to the low end of the kick.


Hat: Now that you have boosted the high end of the drums, the off beat hat is now a touch on the loud side. I would reduce the volume of it by 1-2 db to bring it back in balance.


Vocals sound better now and the additional reverb has helped blend it with the rest of the mix. Sounding really great, very nice work :)



Mixing Tips

  • Always reference your track against a 'similar' pro level track. This will help you get the elements of your track to a similar volume, frequency, effect levels
  •  
  • *Use environment & speaker correction software like 'Sonarworks Sound ID Reference' (click here USA EUROPE) to get a balanced frequency response and stereo image.

 

*This is an affiliate link, so we get a small payment if you buy the software through it. We HIGHLY recommend this software as we use it in our own studios (where it is permanently turned on), and it really is transformative in the most benificial of ways. It not only corrects EQ fluctuations, but also phasing issues and even frequency levels in the stereo spectrum!

Why get mix feedback?

  • No matter what level you are, the professional and honest feedback you receive will help you become a better producer.
  • Getting precise feedback on your mixes with steps you can follow, will help you make immediate improvements to any project.
  • Getting detailed feedback will not only help you make your current project better, but will help you in all future projects as well.

 

The reason we get great reviews...

In order to learn professional music production software, you need tutorials with the same level of professionalism, and teachers who are passionate about helping you become a better producer.

 

We take our time to give you really helpful feedback on your mixes, and providing steps that not only help you make one better, but will help you in all your future projects.

YOUR TUTORS

Jon Merritt (producer, tutor & co-founder of Born To Produce) has been making tunes for over 20 years and has been teaching for the last 10 of them. In his career, he has come to grips with many genres of modern music from Hard House to Downtempo.

His skill in music production has been crafted over many years of self taught experimentation and learning from other producers at the top of their game. He has tried almost every angle on most production techniques, so when he teaches you something you know it has been tried and tested, and refined. He is always willing to learn new skills / software that further the goal of music production.

Jay Hales (Tutor & Co-Founder of Born To Produce) has produced in most genres over the last 20 years, as well as successfully DJ'ing across many countries throughout Europe. He writes music for TV companies and makes his own personal music in a wide range of genres.

 

His attention to detail, knowledge and clear teaching style make him the perfect person to learn your music production skills from. He is super approachable so feel free to get in contact with him and ask a question. He is also open to feedback and always looking for ways to improve and offer even more value for money.

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QUESTIONS & ANSWERS

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  • Hi Guys, In the application form for the mixing service, you ask me to cite the "reference track". What do you mean by reference track?

    A reference track is a similar genre, commercially released song which you compare your mix to. It's paramount to getting your own mix up to standard. If you haven't used a reference track just insert 'none'.


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