{"id":4313,"date":"2018-01-19T14:41:04","date_gmt":"2018-01-19T19:41:04","guid":{"rendered":"https:\/\/splice.com\/blog\/?p=4313"},"modified":"2018-05-24T13:25:50","modified_gmt":"2018-05-24T17:25:50","slug":"how-and-why-you-should-use-a-reference-track-during-mixing","status":"publish","type":"post","link":"https:\/\/splice.com\/blog\/how-and-why-you-should-use-a-reference-track-during-mixing\/","title":{"rendered":"How and why you should use a reference track during mixing"},"content":{"rendered":"
Illustration: Eileen Tjan<\/a><\/h6>\n

This article originally appeared on Flypaper.<\/a><\/p>\n

Arguably one of the most important skills in mixing audio is the ability to listen<\/em>. Listening to what others have done with their songs specifically and being able to both accurately describe and actively attempt to recreate the same auditory experience via the tools available to you are extensions of the simple, yet too often overlooked, act of listening.<\/p>\n

That\u2019s why the first section of our exciting, new Mainstage course, Faders Up: Modern Mix Techniques I<\/a><\/em>, is dedicated solely to improving your ability to actively listen, describe, and choose relevant reference material. Here\u2019s one of the first lessons from the course, highlighting the importance of being able to describe the sound world of an audio recording and how to use a reference to gauge the effectiveness of your mix.<\/p>\n

Describing Sound<\/h2>\n

Classical music has a whole language of notation<\/a> that dictates how something should sound. As a mixer, we get instructions from bands, friends, and clients saying things like, \u201cCan it sound fatter?\u201d or, \u201cCan the vocal feel a bit more distant?\u201d<\/p>\n

The translation<\/em> is largely up to you, but to communicate about mixes, we need to be able to talk about the way something sounds. Let\u2019s look at some common examples.<\/p>\n

Big vs. Little<\/h2>\n

This one\u2019s pretty simple, and it\u2019s really just a matter of level. \u201cBig\u201d sounds are loud, and \u201clittle\u201d sounds are quiet. You could also argue that big sounds have more bass<\/a> and little sounds have less bass. But when contrast comes into play, it can be more interesting and subtle than that.<\/p>\n

Check out the contrast in sounds in this Son Lux<\/strong> track, \u201cEasy.\u201d The guitars and winds are tiny, almost twinkly, and in contrast, you get these giant baritone sax riffs and a big, subby kick<\/a>. The little things draw you in, and the big things blow you away.<\/p>\n