Unusual Blend Terminologies: Their Meanings Explained and Applied

Mix Like a Pro

Dive into the fundamentals of mixing to take your music to the next level.

This post is number 7 out of 10 in our Ultimate Mixing Guide. Start from the beginning or keep reading!

Music engineers can get quite passionate when discussing the art of mixing.

Describing sound can be tricky, and slinging around technical lingo can make it even more frustrating. Luckily, there are some common terms that engineers use to help communicate mix issues and qualities of sound.

Here's a breakdown of seven mixing terms every engineer should know, along with their meanings and solutions to common issues they reveal.

1. Boomy

Boominess refers to excessive low-frequency energy that extends the sustain of your speakers.

For example: "I want this kick to be fat, but right now it's just boomy."

When speakers try to reproduce too much low end, they struggle and cause negative effects all the way up the frequency spectrum.

How to fix it:

Apply a high-pass filter to sources with a large amount of low frequency content. Move the filter up until a significant effect becomes noticeable on the sound.

2. Muddy

Muddy usually means a crowded low-mid range from competing elements.

For example: "The whole mix gets muddy when I unmute the bass; maybe I should cut some 250 Hz."

A congested low-mid range can hamper the clarity and separation of instruments.

How to fix it:

To avoid messy mixes, scoop out the low-mids whenever they're not crucial to your desired sound. Focus on instruments such as the bass and kick where most of the energy is concentrated in the low end, leaving the mids less crowded for other elements.

3. Boxy

Sounds or mixes that feature mostly mid frequencies with insufficient lows and highs are considered boxy.

For example: "These guitars are too boxy; we should try a mic with more high end."

Boxy mixes sound flat and lack the needed detail for a striking audio experience.

How to fix it:

Avoid creating a boxy mix by ensuring that you don't over-boost mids or neglect extreme frequencies.

4. Warmth

Warmth generally refers to harmonic distortion and an un-hyped top end.

For example: "Wow, adding that tube compressor plugin definitely warmed up this vocal."

Analog equipment is often associated with warmth, which can make mixes feel smooth and enjoyable to listen to.

How to get it:

Gently roll off your highs and use saturation/analog style processors to establish warmth. Be mindful to avoid overdoing it, as too much artificial saturation can introduce harshness.

5. Harsh

Harshness is often used to describe aggressive upper midrange that can be fatiguing to listen to.

For example: "The square wave synth is quite harsh; can you pull down the filter's cutoff frequency a bit?"

Harshness can be a significant issue in many mixes, causing discomfort for listeners. Its effects are especially noticeable on common listening systems like earbuds and laptop speakers.

How to fix it:

Avoid harshness by exercising caution with your EQ and mic positioning when working on energy in the 3-5kHz range.

6. Depth

Depth is the three-dimensional quality of a mix that adds a sense of immersion.

For example: "Panning the room mics wider seems to give the drums a bit more depth."

Depth increases instrument separation and the overall sense of space.

How to get it:

Record sources using a variety of close and distance mics while tracking to give yourself a range of ambiences to blend during mixing. By using different sources at various distances and pan positions, you can create depth in your mix.

7. Air

Air refers to subtle liveliness in the upper frequencies that enhances the realism and dimension of sources like vocals and room mics.

For example: "The overhead ribbon mics sound pretty dark and need some air."

Think of air as a pleasing, well-EQ'd treble range in your mix.

How to get it:

Gently apply a bell or shelving filter to your smoothest sounding EQ to subtly boost the top end from 8-16 kHz. Be careful not to go overboard, as excessive air can result in harshness.

Tackling Audio Mixing 101

The mixing process is subjective, so the terms we use to describe it are too. These definitions are merely guidelines to help you diagnose and address mix issues and aim for your desired sound.

Now that you're up to speed on common mixing terms, plunge deeper into your mix with a clearer destination in sight!

Meet the Mixer:

Michael Hahn is an engineer and producer at Autoland and a member of the swirling indie rock trio Slight.

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Michael Hahn is an engineer and producer at Autoland and member of the swirling indie rock trio Slight. Follow him @MichaelHahn.

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Unusual Blend Terminologies: Their Meanings Explained and Applied