<p>Usually, I start off my mixing process having heard the client's own rough mix and a few references, and I'll have listened to those on my nearfields. Then I'll do almost all my initial investigations of the raw multitrack files on the nearfields, normally at a good volume so that I hear all the details and get a physical feel for the way the drums and low-end instruments fit together. From time to time I'll switch monitoring volume to give me a more robust perspective of how my initial balance is stacking up, and I may also flip over to the Avantone briefly to check that I'm getting an appropriate balance between bass, kick, and snare for smaller speakers. Once I've created a basic first-draft mix of one section of the track (usually without send effects or detailed automation at this stage, but including any master-buss compression), I'll then export it to a separate DAW project to do some initial referencing so I can head off any obvious overall-tonality issues early on, and I'll usually do that first referencing primarily on the nearfields still, though often at lower volumes, because I find that tonal differences aren't as clear when things are loud. Then I'll return to the mix project, add an overall master EQ if necessary, and use mostly the nearfields again to work on the send effects for that section before bouncing it out again into my referencing project.</p>

<p>It's at this stage that I start getting more anal about switching systems (in conjunction with <a href="http://www.soundonsound.com/techniques/listen-learn-analysing-commercial-mixes">various analysis and auditioning hacks</a>), in order to really drill into exactly how my mix-in-progress relates to my references. All the systems can provide information here: nearfields will give the best frequency overview, as well as stereo information and mix detail -- and at high volume they'll highlight any harshness; the Avantone focuses on the more translatable frequencies, as well as resolving exact balance questions; the headphones really resolve miniature details and give an insight to headphone translation; and the grotboxes give me an idea of how the mix will fare in the face of difficult listening environments, particularly as regards vocal intelligibility. When I've got a list of things to do, I return to the mix project and do them, before rebouncing back into the referencing project for more analysis. If I'm lucky, I'll only have to do that once or twice before I'm happy, but I've been known to go through more than a dozen versions on occasion.</p>

<p>Once that section's done, I start to map out the rest of the arrangement in relation to the section I've worked on so far. For this, I again primarily use the nearfields, and often work at a decent volume again so I hear the detail of any new parts and effects I'm working on. Once the whole arrangement's pretty much mapped out, I'll start focusing on the detailed automation, at which point I switch over to listening mostly on the Avantone -- both when dialling in detailed levels for the vocals/hooks, and when pulling out little interesting details from other parts. Occasionally I'll switch back to the main speakers to confirm that my balances are holding up there too, and if not then it's usually an issue of some part not being consistent enough in the frequency domain -- if that's a problem I'll perhaps start automating EQ or using some multiband channel processing. While working on detailed automation, I'll often walk away from the sweetspot and listen from elsewhere in the room (not looking at the screen) to check that I'm not 'listening with my eyes'. (I also do something similar as a reality check at the low end while referencing my first mix section, because my room, like most people's, has some remaining resonances despite my acoustic treatment.)</p>

<p>Once the mix is effectively done, I'll again reference it in detail on the nearfields and Avantone in the referencing project, as well as doing a detailed 'snag list' listening three or four times up in the living room. I then go back to my mix project, implement the 'snag-list' changes and leave it overnight. If it still holds up the following morning, then I'll send it off for feedback from the client. At which point they tell me I've completely got the wrong end of the stick and I have to go back to the drawing board...  <img src="[[$sitePrefixCMT]]SitePix/EmoGrin.gif"></p>

<p>However, I should also say that the above description makes things out as being a bit more orderly than they actually are in practice! For example, if there's plenty of timing/tuning work to do, I'll usually do that at moderate-to-low volume on the nearfields to avoid fatigue, double-checking things on the Avantone. If there's lots of arrangement and sound-design additions to do, I usually work on those on the nearfields with the volume fairly high, so that the balance doesn't have to be great for me to hear everything and I can concentrate on the timbres, textures, and atmospheres I'm creating without getting bogged down in too much technical mixing. Also, I sometimes feel I need to consolidate the lead vocal automation while referencing the first mix section I do, in which case I'll turn over to the Avantone for that earlier in the process. And sometimes I don't end up referencing on the grotboxes at all until the full mix is complete. It depends a lot on what kind of target sound I'm aiming at -- some styles involve <i>much</i> heavier lifting at the mix stage than others!</p>

<p>Overall, I'd say the main take-aways are:
<ul>
<li>I listen at different volume levels and in different room locations.</li>
<li>I often listen without looking, whether that's by simply closing my eyes or by walking away from the screen.</li>
<li>I use different complementary monitor systems so that the strengths of each compensate for the weaknesses of the others and I get a better idea of what the mix will sound like outside my studio.</li>
<li>I spend a whole lot more time and energy on referencing than most people realise -- at least judging by the reaction of most of the people I've done one-on-one mix training for.</li>
</ul>
</p>

(In case you're wondering why I do my referencing in a separate project, check out this <a href="http://www.soundonsound.com/sound-advice/q-why-would-i-want-bounce-out-mixes-referencing">Q&A response</a> I did for Sound On Sound magazine a year or so ago.)


<p>Hope that helps -- just <a href="[[~420]]#contact">let me know</a> if I've not been clear enough and I can elaborate further!</p>