![]() ![]() In addition, mixing loudly leads to quicker fatigue in a given session, and long before you’re finished, you may find yourself making bad decisions due to loss of detailed hearing and attention. Mixing at loud volumes consistently is a recipe for hearing disaster. Hearing damage is something to be avoided at all costs if you want to continue mixing. One note: quiet mixing doesn’t remove the affect of room reflections on what you hear, so you should still treat your room properly. It’s also harder to discern detail when the mix is cranked to the max in the room, because of extra room reflections, ears instinctively locking down a bit, and general noise masking details. ![]() Mixing at low volumes requires you to focus in on the detail of your work in a way that loud listening doesn’t. Typically, when mixers crank the volume, vocals are too loud and drums and other instruments you want to punch are lackluster at reasonable listening levels. To put it simply, cranking the mix in the room skews your perspective, makes mixes sound punchier and more exciting than they are, and changes the balance of what you hear. #1 – Perspectiveįirst and foremost, if you want a mix that sounds good at all possible listening levels, is balanced and nuanced, and translates well across systems, you’ll need to mix quietly. Here are the top five reasons why you should mix at low volumes. In fact, professionals across the board use the “conversation” method of setting a listening volume for mixdown: mix at a level where you can comfortably have a conversation over the music. It turns out, however, that mixing at high volumes is the last thing you should do. And since you’re hoping people will listen loud, new mixers are often tempted to mix at high volumes. If a mix is coming together, you’ll want to jam out. ![]()
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