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Trending Tracks 1. Play track. Love this track. More Love this track Set track as current obsession Get track Loading. Friday 16 July Saturday 17 July Sunday 18 July Monday 19 July Tuesday 20 July Wednesday 21 July Thursday 22 July Friday 23 July Saturday 24 July Sunday 25 July Monday 26 July Tuesday 27 July Wednesday 28 July Thursday 29 July Friday 30 July Saturday 31 July Sunday 1 August Monday 2 August Tuesday 3 August Wednesday 4 August Thursday 5 August Friday 6 August Saturday 7 August Sunday 8 August Monday 9 August Tuesday 10 August Wednesday 11 August Thursday 12 August Friday 13 August Saturday 14 August Sunday 15 August Monday 16 August Tuesday 17 August Wednesday 18 August Thursday 19 August Friday 20 August Saturday 21 August Sunday 22 August Monday 23 August Tuesday 24 August Wednesday 25 August Thursday 26 August Friday 27 August Saturday 28 August Sunday 29 August Monday 30 August Tuesday 31 August Wednesday 1 September Thursday 2 September Friday 3 September Saturday 4 September Sunday 5 September Monday 6 September Tuesday 7 September Wednesday 8 September Thursday 9 September Friday 10 September Saturday 11 September Sunday 12 September Monday 13 September Tuesday 14 September Wednesday 15 September Thursday 16 September Friday 17 September Saturday 18 September Sunday 19 September Monday 20 September Tuesday 21 September Wednesday 22 September I don't want to—and you don't need to—fiddle with plug-ins for six weeks.

If you've got a sound you think is cool, print it and move on. From my standpoint, that's a production decision. If you send me a clean guitar that has no processing on it, but you're expecting it to be distorted, we've got way too much to talk about, and I'm trying to mix this song today. At the start of every mixing session, Eric Bauer will run a client's rough mixes through his board to help them hear what they can expect from his signal chain. Most of the engineers we spoke to ask their clients to send them separate synced audio files accompanied by a rough mix.

This provides the most flexibility while letting them hear how you're imagining the final recording. Some engineers prefer to have a DAW session as well, so this should be part of any conversation before you get started working together. If you're bouncing down individual tracks, it's important that you understand exactly what you need to do to make the compiled tracks work.

And if you don't, talk to your engineer. Bauer explains the dangers of bad exporting: "People bring over files and they'll be not synced, not to the same length, so we'll have to sync them up in Pro Tools, which is never completely accurate.

I'll have random guitar solos, an overdub of a guitar solo, and I'll have to move it. That's one of the big problems I get. Whether you're sending separate WAV files or DAW sessions, every track needs to be effectively labeled in a universal way that will help your engineer quickly understand what they're looking at. In an ideal situation, your engineer will spend time mixing and not navigating extensive file names, trying to figure out what's going on with your tracks. That means keep your labels short and clear—Marston offers "GTR U87" as a short label anyone mixing a record would understand—and keep your folders organized.

Dave Fridmann encourages home recordists to focus on songwriting and getting cool sounds, and to let mixing engineers worry about the technical details. When they completed the mix, both felt satisfied with the result. But Parker changed his mind upon returning home and flew all the way back to work with Fridmann on a remix.

Sure, it was a lot of extra work, and Fridmann says both mixes sounded good, but he agrees that the final version was the better of the two. That just goes to show that there is more than one way to mix a recording. Everyone hears music their own way and the best finished product is what sounds best to the artist … and even that can change. What mixing engineers do is help us hear what is possible and bring that to life.

As artists, we can spend months or years listening to our recordings at home, and anything outside of that can sound surprising. We just need to keep an open mind. While Bauer says that artists often "have it in their mind that those roughs are the one," he has his own strategy to help them hear new possibilities.

I'll have a bus compressor and a bus EQ, and I'll run their whole mix through that before I start doing anything. Then, we'll start mixing and I'll do it the way I think it should be done. When they leave here, they have three mixes to choose from: their original mix, their mix through my board, and my mix.

Fridmann cautions against getting bogged down in the details, because ultimately there's no replacement for good writing and solid playing. Fine—we'll address all that stuff, but that doesn't matter. It doesn't matter when you hear 'Baby Love' and it doesn't matter when you hear 'Back in Black. Rig Rundowns. Riff Rundowns. Why I Built This. The Big 5.

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