The 8 Most Common Mixing Problems

THE 8 MOST COMMON MIXING PROBLEMS:

1. Inconsistencies in a Vocal

2. Muddy/Harsh Frequencies

3. Lack of Energy 

4. Lack of Depth/Naturality

5. Too Much/Not Enough Low End

6. Too Dynamic/Not Dynamic Enough

7. Not Hitting Hard Enough

8. Not Loud Enough (Perceived Loudness)

Each problem is defined and accompanied by Aresh’s solution below.

PROBLEM 1: Inconsistencies in a Vocal

Vocal tracks are often full of words or phrases that are noticeably different in volume, tone, or clarity, creating an uneven performance.

SOLUTIONS:

• Start with the “tedious” edits

  • Clip gain

  • Declicking and plosives

  • Using EQ to address sibilance before a De-esser

• Separate each vocal section into different tracks (hook, verses, ad-libs, etc.) to process each part differently.

• Even out a vocal in multiple stages: Clip Gain → Compression → Automation

• Split up the load of compression between multiple compressors.

PROBLEM 2: Muddy/Harsh Frequencies

Muddiness refers to a build up of low and midrange frequencies that make a mix sound congested or unclear, while harshness is caused by excessive high frequencies that can make a mix sound overly bright or grating.

• Boxiness/Muddiness = 200 - 1 kHz

• Harshness = 2 - 8 kHz

SOLUTIONS:

• Use wide, gentle cuts with a static EQ to reduce low end buildup while retaining vocal warmth.

• Apply dynamic EQ on the low end of vocals for more precise control after initial sculpting with static EQ.

• Identify and tame resonant frequencies with a narrow-band dynamic EQ.

• Use saturation to accentuate frequencies beneath any high-frequency ringing. The saturation will balance out the sound and divert attention away from the harshness. 

PROBLEM 3: Lack of Energy

Sometimes a mix will be lacking in attitude or intensity, causing it to sound dull and lifeless.

SOLUTIONS:

• Saturation can add excitement and attitude, while also raising the level of an individual track or the entire mix.

• Adding subtle distortion to a vocal buried in the mix can help bring it forward.

• Making small level adjustments throughout the mix increases overall energy and prevents unwanted distortion.

PROBLEM 4: Lack of Depth/Naturality

A mix that lacks depth may sound artificial and one-dimensional, failing to create a sense of space and realism for the listener.

SOLUTIONS:

• Avoid overprocessing. Being too heavy handed with effects, especially when working with vocals or recorded instruments, can make the mix sound artificial and lose its natural quality.

• Use effect throws. Apply spatial processing to specific clips or sections by sending them to an fx bus or by duplicating a clip and placing it on an audio track with an effect preset, as demonstrated by Aresh.

• Apply reverb in-line or send multiple tracks to a reverb bus to create a full, wide sounding mix.

• Doubling a track and panning the copies will spread it out across the stereo field, resulting in a wider sound.

PROBLEM 5: Too Much/Not Enough Low End

Excessive low end can make it difficult to hear anything else in a mix while insufficient low end can make it feel thin and lacking in warmth or fullness.

SOLUTIONS:

• Split up 808s onto different tracks for separate processing and greater control over the low end.

• Instead of sidechaining, experiment with subtle volume automation to lower the bass whenever the kick hits.

• Apply dynamic EQ to reduce low end buildup without losing essential bass frequencies.

• Enhance the presence of low end instruments by applying saturation or distortion.

PROBLEM 6: Too Dynamic/Not Dynamic Enough

When the differences between the loudest and quietest parts of a song are too large, it can make the mix feel unbalanced or inconsistent. Conversely, a song that is lacking dynamics may feel flat or cause listening fatigue, reducing its overall impact.

SOLUTIONS:

• Manually adjust the gain of individual clips before applying compression. This helps to smooth out inconsistencies and prepares the signal for more effective compression.

• Compression can control the dynamics of an individual track or an entire mix, but be careful with how much you use—too much compression can easily squeeze all the life out of a sound.

• Use level automation towards the end of the mixing process to balance sections, making sure that no part of the mix is too loud or too quiet.

PROBLEM 7: Not Hitting Hard Enough

When key elements in a mix like the drums or bass feel insignificant or weak, it can fail to deliver the “punch” and excitement expected from genres like Hip-Hop, Rock, or EDM.

SOLUTIONS:

• Use saturation to juice up individual tracks, making them fuller and more aggressive by adding harmonics that boost perceived loudness.

• Use compression on the mix bus to glue everything together. The sound of a kick or 808 hitting the compressor can create a push and pull effect, adding “bounce” and excitement to the entire mix.       

• Use clipping or limiting to control and maximize the peaks of transient-heavy elements like kicks and snares, preventing distortion and maintaining impact.

PROBLEM 8: Not Loud Enough (Perceived Loudness)

When a mix isn’t loud enough, it might lack the punch and presence needed to fully capture the listeners attention and deliver its intended impact.

SOLUTIONS:

• Use a combination of gentle compression, limiting, and saturation to increase the overall level of the mix while avoiding distortion. 

• Experiment with slow attack and fast release compressor settings on the mix bus to preserve transients while adding overall punch and perceived loudness

• Use limiting on the mix bus to control peaks and increase the overall level. Be careful not to over-limit, as this can make the mix sound squashed and lifeless.

• Using a clipper on the mix bus can add a crunchy texture that makes everything feel more aggressive, while maintaining control over the transients.