Here is what I listen and look for in any mix:
1) Is the mix balanced? That is, are track levels fairly balanced across the board or are there some that are too loud in the overall mix?
(As a side note..... There is more than one way to get a track to cut through a mix without having to raise the volume fader.)
2) Has a "pocket" been created in which the main vocal can sit without having to fight for the same space with other instruments?
3) Are the individual tracks tweaked so they can be heard in the mix? The idea is for them to not be fighting against the other tracks while occupying their own "space".
4) Do the kick and /or bass tracks sound "boomy" in the mix? And which instrument (i.e., kick or bass) is carrying the low end of the tune?
5) Are tracks being "washed out" by other tracks due to ambience getting in the way. The use of pre-delay and high/low pass filtering is key to getting the ambience out of the way of the individual tracks being sent to it.
6) How does the mix sound when checking for mono compatability? Are there any problems with anti-phase, phase cancellation, etc.? This is key when mixing, IMO.
There are other things, but the above are some of the first things I check for when listening to a mix or mixing a project myself.
Here are some "Rule of Thumb" tips to use when mixing.....
1) If you want something to stick out in a mix, use a highpass filter to roll off some of the lows.
2) If you want something to blend in in a mix, use a lowpass filter to roll off some of the highs.
3) When using EQ..... Use a narrow "Q" (i.e., bandwidth) when cutting and a wide "Q" when boosting frequencies. This principle applies to complimentary EQing as well.
4) Also along the lines of EQing tracks..... "Cut" if you are trying to make things sound better. "Boost" if you are trying to make things sound different.
5) Use a highpass filter after effects. This will help the track to be "sit" in the mix better as well as cut down on any "wash out" that can occur.
6) You cannot cut/boost something that is not already present in a track in the first place.
7) If something sounds "boomy", cut some at around 50Hz.
If something sounds "muddy", cut some at around 200Hz to 300Hz. 9) If something sounds "honky", cut some at around 500Hz.
10) Always check your stereo mix with PAZ or equivalent analyzer to make sure frequencies stay in check.
Here are some pointers regarding ambience (i.e., reverb).....
1) Ambience works better when timed to the tempo of the track.
2) Short ambience tails "push back" a sound in the mix.
3) Long ambience tails makes a sound "float" in a mix.
4) Reducing the ambient time of a plate or a room verb to 0.3-0.6 seconds will often make an instrument fuller and bigger sounding, as well as less "in-your-face" without it being obvious that ambience is being used.
5) Always follow ambience with a highpass filter to control any "wash out" from occurring.
6) Pre-delay is key in helping a track cut through and sit better in the mix.
7) Combining a delay with ambience will create movement to a track and make it more interesting to listen to.
Substitute a delay for ambience. They will give movement to a track and sound cleaner for the track as a whole. My word is not law, but i thought some of you could benefit from this info.
