All these little things that may not be heard before mixing will most likely show up in the master after loads of compression has been added.ģ. Crossfading at edit points fixes most of this, but, a good measure of this is to hear if you can identify your edits with the track solo'd and your eyes closed. Other noises include improper edits that cause clicking, popping or other artifacts. Sometimes you want to leave a vocalist's breathe for emotion or a guitarist or drummers noises, communicate that to the mixer. This means remove unwanted noises between performance parts. This point is especially important if you are sending your project session folders because keeping them clean of unwanted takes, clips, tracks will save you hard drive space and ultimately a headache sorting through your files or uploading.Ģ. I'm guilty of this but these should not be sent to your mixer either. Comping a final take is part of the production process and should not be left for the mixer to do, unless you are also hiring them to help you with these decisions.Īnother practice is keeping ideas or parts that we ultimately don't think fit in the song. We keep multiple vocal takes or guitar solos or what ever arrangement decisions we don't make. However, sorting through your takes is not considered part of the mixing process. Besides the many benefits of digital recording, one of the downsides is that we don't make decisions because we have seemingly uncapped amounts of storage. Send only the tracks you want to be mixed. And, hey, these tips aren't meant for those working with another mixer but are great M.O. Regardless, you are still going to need to do a few things before formatting that will save you time, and maybe money, as most of these processes will not be something your mixer considers part of mixing.

Some mixers prefer to receive your project sessions and others only want your audio files or stems in a certain file type. I am often asked about how to prepare and send tracks for mixing by another engineer.

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