Mixing is not only an art, it is also a key step in assembling the tracks into the final music. 

An excellent remix can show the highlights of your music in front of people, which can be thought of as you focus all the spotlight on the most important detail of the music and add a surprise to the already excited audience. at the same time, make sure that the music is heard on a transistor radio or released from an enthusiast's "dream group". 

In theory, mixing should be very simple: all you have to do is adjust some knobs until all the sounds sound good. 

But you don't usually have that kind of luck. 

Mixing can be as difficult for a mixing engineer as playing a musical instrument. 

So we need to get closer and take a closer look at every step of the mix. 

You can start by analyzing the excellent remix recordings of some top remix engineers and producers, including Bruce Swedien, Toger Nichol, Shelly Yakus, Steve A1bini and Bob Clearmountain. 

Don't focus on the music, pay attention to the remix. 

You should try your best to recognize the sound of every instrument, even the "sound of the wall", because each element of music has its own acoustic space. 

At the same time, you should also pay attention to the balance of the frequency response in the music. You should try to make the sound have enough treble without making it cold, and have enough bass to lay the groundwork, but do not make the mix deafening. Of course, it is also necessary to ensure the mid-frequency band. 

One of the best remix reference tools is a CD player and a wonderful remix reference CD. (one of my favorite rock CD albums is the Tom Petty and The Heartbreakers albums Damn the Torpedoes, the beauty of which is that no matter what sound system you use to play it, its sound is very good). 

Connect the CD record player to your mixer and often compare your remix with the reference CD. 

If your voice is a little stiff or doesn't attract people's interest, you need to monitor carefully and isolate the sources that cause these adverse consequences. 

A reference CD can also guide you in many ways, such as the relative levels of drums, voices, and other sounds. 

Observe the level meter of the mixer so that the level of the music in the reference CD is as high as that of your mixer (so that their peak signal is as high on the level meter). 

At this time, if the overall volume of your work sounds very small, even when its peak electricity has almost exceeded the reference CD level, it means that the music in the reference CD must have been well pressed so that the dynamic difference of the whole piece is not too great. 

In fact, compression is always one of the things you have to do when you mix. 

At the same time, a regular studio should have at least one first-class limiter and a first-class user.