Assessing the track is the first step to decide which elements need additional work. Producer Roger Nichols, whose clients include Steely Dan, takes a holistic approach. On first hearing, Nichols creates rough templates to help him figure where bass, guitars, drums, keyboards and vocals will eventually fall into the mix, according to "Electronic Musician." Only then does Nichols cue up individual instrumental parts to determine how the song can be improved.
Compression and equalization effects are the most commonly deployed tools for smoothing volume and tone variations that affect how listeners hear sound, according to artistmanagementresource.com's director, Jeremy Rwakaara. A faster attack accents the body of a sound, while a slower attack increases its definition, Rwakaara says. For greater effect, producers like Nichols also vary compression settings to emphasize certain parts of a song, according to "Electronic Musician." This trick ensures the brightness needed to grab radio listeners' attention.
The type of song should drive the producer's creative decisions, as "Sound on Sound" reported in September 2010. Engineer Matt Houghton cited this rationale for not reprogramming a drum track on "Chasing Shadows," written by singer-songwriter Joe Murphy about his father's death. Instead, Houghton overdubbed shakers and tambourines to brighten the song's rhythm. Conversely, Pink's breakout hit, "Get This Party Started," required a bright, punchy sound to emphasize its distinctive rhythmic hook, according to "Electronic Musician."
To get an honest feel for how the song is working, recording engineers should mix down tracks through different monitor systems and headphones, Rwakaara says. Instead of blasting the music, the engineer should try mixing at low to moderate volume levels, as well. The objective is to get a fresh perspective outside of the normal mixing environment. The engineer can also decide if he hears a consistent sound coming through the different sound systems.
With so many effects available, the temptation to spice up tracks through devices like equalization or compression is overwhelming. One of the most common flaws is overuse of compression, which makes songs sound less distinctive, according to "Electronic Musician." Such tendencies draw criticism from veteran mixers like Tim Palmer, who has worked with such artists as David Bowie and U2. Commercial CDs sound more dynamic from greater tempo and tonal variety, Palmer says.