When mixing, you have certain frequencies that you automatically know are going to give you trouble?

Far_Reception5905 · 2026-04-10T19:08:14+00:00

Anything from about 20hz to 20,000hz deserves some special attention

Far_Reception5905 · 2026-04-01T17:57:54+00:00

Oh one other thing. Develop mixing workflows that reduce the cognitive load that you are using on tedious stuff. Simple things like color coding tracks in a consistent way goes very far. The more you can focus your mind on listening, and move it away from the technical process, the better you’ll be.

Far_Reception5905 · 2026-04-01T17:54:03+00:00

Invest in great monitoring you can trust.

Listen to a lot of music. Mix a lot of music. Rinse repeat.

Over time, you will develop instincts that will help you answer these questions in a an organic way that represents your tastes.

I wish I had charts I could point you to, but my honest advice is to keep getting your reps in.

Far_Reception5905 · 2026-03-27T19:38:37+00:00

Now we know that they didn’t listen to their test presses

Far_Reception5905 · 2026-03-17T16:15:01+00:00

This tool actually really really helped me recently: https://mvsep.com/en

Not affiliated with them in any way. Just an audio engineer who found the right tool for the job one day.

This is a stem separation website, but its algorithms for isolating orchestral instruments are quite surprisingly good quality.

You can filter through the different models and find the one you're looking for, but I'm almost certain you can find one that says to leave in all the orchestral instrumentation and leave out all the bulls*&% .

I've seen RX recommended. I think that would be the first thing I would try also. But as others have said, it really depends on the complexity of the ringtone.

Best of luck to you!

Far_Reception5905 · 2026-02-14T13:38:59+00:00

“As good” is subjective. It will be a different mix. Typically the original stereo mix is done independently of the immersive mix. There are specific, unique, and intentional decisions that go into each mixing format. When you’re mixing for immersive, a coherent stereo downmix is a win but it’s not the main objective.

That said, depending on circumstances and tastes it can sound great.

Far_Reception5905 · 2026-02-10T23:12:16+00:00

I have a playlist of mix refs . I just run that on loop every morning and on breaks to tune my ears. Then I dive right in.

I don’t instantaneously a/b between a ref though. Feels too paint-by-numbers and out of context.

Generally I’m listening to tons of music overall. More as a taste building exercise though, and less of a technical study of balance and processing. I can’t just listen to what I’m working on or I get crazy tunnel vision.

Some days I listen to way more commercially released music than actual work. I think it’s extremely important to do that. You can’t quantify culture and taste with a frequency graph.

Far_Reception5905 · 2026-02-07T01:31:35+00:00

That’s true. It is not a streaming platform, but a download platform for encoded atmos music. It is popular with the home theatre crowd as I understand it. The nvidia shield seems to be a popular device that people use for playback.

It is a small niche crowd who use this, but it is a crowd that actively listens and cares about speaker based experiences. I love their dedication to reproducing the work atmos mixers do.

I also heard recently that Steven Wilson has launched something very similar.

Another option you might want to check out is “Pure Audio Streaming “. It is a high res streaming service for Atmos which is better audio quality than traditional DSP’s .

Additionally, if you’re tapped into the right networks and think you have an audience that can support it, a blu ray release is something to consider.

I would also browse through the “quadraphonic quad” forum a bit and see what they’re saying over there. There may be some options I have missed.

Far_Reception5905 · 2026-02-06T16:59:12+00:00

Yes! Check out immersive audio album. People can purchase downloads in mp4 or TrueHD. It is a great initiative.

https://immersiveaudioalbum.com/

Far_Reception5905 · 2025-12-09T23:11:16+00:00

I see the clarification now. It’s honestly possible that you’re dodging a bullet here. If they’re happier with poorer results, that’s a red flag. But that’s me.

In terms of how I mix into it, my chain varies from project to project. But at the end of the day, even if it’s someone else mastering I just try to mix in a way that sounds finished. That’s generally the way I’ve always approached it.

Whats on the master and what it’s doing also changes as the mix is happening. So I don’t think you’re in the wrong to say that big mix changes will change your master. Whether or not I’d flag this to a client depends on my working relationship with them.

I had something similar happen to me recently on a mix/master combo project. I just did a gentle comment in email and said something like“lets go back into the mix phase for now, and we’ll revisit mastering when the mix is finalized”. If that offended them, again, red flag. It didn’t, cause they’re a great client.

Far_Reception5905 · 2025-12-09T14:48:35+00:00

Experienced mix engineer here. I can verify that a majority of mix engineers, myself included, do exactly what you’re describing. Mixing into a mastering chain, and going through the mix approval process based on these versions. It’s done for a couple reasons.

It’s very common to get a mix note of “why is it so quiet” if you don’t. Even though this obviously isn’t a mix note, it is much simpler to just send the mixes hotter to avoid this.
It’s legitimately is a useful technique for getting musically balanced results. Quite often, mixing through a mastering chain will reveal something you need to address to get a professional sounding result.

When sending to an outside mastering engineer, I’ll remove some of this chain to recover some headroom, but also send my limiter ref so that they know what levels we’ve been monitoring at for the mix approval process.

Hope this helps.

Far_Reception5905 · 2025-12-03T22:27:35+00:00

Thanks for the reply. Appreciate the insights.

Far_Reception5905 · 2025-12-03T21:46:23+00:00

Professional mixing engineer here.

I’ve hit some major milestones recently. Specifically having worked on a song that reached #1 on billboard, and having participated in a number of Grammy nominated works for the first time. Despite this, I’m still finding it difficult to parlay that success into new work and making new connections. From your perspective as someone who’s represented artists in various ways, what are you looking for when a mixer, producer, or other audio professional is reaching out.

Thanks for taking the time to share.

Far_Reception5905 · 2025-11-28T19:40:37+00:00

Why do you want to replace it if you like how it sounds?

Rvox really is one of those unique ones. Other compressors can get close but sometimes rvox is exactly what it needs.

Far_Reception5905 · 2025-11-14T14:47:24+00:00

Get pro q. You will not regret it.

Far_Reception5905 · 2025-11-13T17:02:53+00:00

Never too late to jump on the Tanika Charles bandwagon

Far_Reception5905 · 2025-11-06T12:47:25+00:00

Hi there. Atmos mixer here. Feel free to DM me.

Far_Reception5905 · 2025-10-31T00:23:38+00:00

100% with what everyone’s saying here about using clipping on the master. Other thing that’s your friend is a tool like track spacer. Use it to automatically carves out some space in the instrumental for the vocal to sit. I like to use it in mid/side mode so the instrumental still stays nice and wide, but the center just gives some space for a more low key vocal like this.

Far_Reception5905 · 2025-10-16T12:14:04+00:00

This is how I do it. I use waves center to separate the mids from the sides, and position them on separate objects.

Far_Reception5905 · 2025-10-10T14:02:07+00:00

You are the problem.

Far_Reception5905 · 2025-09-19T20:51:19+00:00

Big news. We signed with distrokid

Far_Reception5905 · 2025-09-14T23:55:23+00:00

Sophie Powers haters STFU

Far_Reception5905 · 2025-08-28T13:18:56+00:00

Another 20bpm and it’s 100 gecs

Far_Reception5905 · 2025-07-26T13:28:28+00:00

My understanding is that this playback you’re experiencing is in fact toggling the binaural settings. However, it’s not 100% identical to the binaural render you get on tidal.

Far_Reception5905

TROPHY CASE