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BEGINNING MIXING - PART I
If you’re new to Band in a Box or have been using it for a while but are unsure of where to go after you’ve created your song, this is a great place to start. A nice basic mix of your tracks will improve your project almost beyond belief and will encourage to you continue creating more great music.
This series assumes you have already created a song with or without vocals and are ready to create a basic mix. Initially, there are some general steps to follow when mixing your project which are more science than art. The art comes later, and is much more subjective.
If you don’t have your own song yet you can load one of the sample songs from your favorite STYLE in Band in a Box and work with that. Ideally you would have already exported your tracks to a DAW like Real Band or your own favorite. You can also simply utilize the MIXER in Band in a Box to explore the possibilities.
For the purpose of this instruction I suggest you use a good set of studio style headphones. You’ll want something with a flat frequency response that does not color the audio by boosting frequencies anywhere in the range. You can listen later with your studio monitors to compare what you’ve created. Using headphones initially will help you hear the effect of panning, which means where a track sits in the panorama (pan) or stereo spectrum of the mix; for example, is your guitar track left or right of center, or right in the middle? You get the idea.
START HERE:
- If you have a vocal (a temp or “scratch vocal” will do) set the volume to zero DB.
- Set the PAN of your vocal to exact CENTER or ZERO..
- Pull the volumes of all your other tracks all the way down so they are inaudible.
- Make sure you have no effects like reverb or delay on any track for now.
- Set your master volume to a comfortable level in your headphones.
Remember: “Engineers who fry their ears, find themselves with short careers.” Live by it.
BEGINNING PAN SETTINGS:
For now, set the PAN of each track according to the following list:
Vocal - CENTER Nothing else ever gets set to CENTER unless it’s a lead instrument solo. “Walking” on the vocal is bad form and no singer will like it if you do that.
Bass - 5% - 10% left OR right of center, but opposite of the drums
Drums - 5% - 10% left OR right of center, but opposite of the bass.
Guitar or Piano - Set your basic accompaniment instrument about 25%-35% left or right of CENTER. If you have more than one accompaniment instrument, like a strummed guitar AND a fingerpicked guitar, set them opposite of each other.
Other instruments - Set any other instruments further out from CENTER in the mix for now. 50% -70% is a good range. These would include instruments like electric guitar, fiddle, mandolin, banjo, etc that are “sweetening” instruments or ones that might be used for solos later in the song. Try to place instruments that have a similar frequency range like fiddle and steel OPPOSITE of each other. Don’t overload one side of the stereo spectrum with instruments in the same frequency range.
Backup vocals - This will be discussed at a later point. For now, if you have backup vocals, push them to the outside of the mix. 100% either left or right of CENTER and opposite each other if you have multiple vocals.
NOTE: The goal here is BALANCE in the mix. You should visualize your mix as you would a band onstage and attempt to give each instrument it’s own sonic space. No crowding.
BRING IN THE BAND:
Choose your main accompaniment, guitar, piano, etc and gradually bring up the volume while listening to your vocal. Watch your VU meters and make sure the vocal stays out front in the mix.
Next bring in the bass, and drums, and listen to the mix as you bring them in to be sure the vocal is still out front of the mix.
Do the same thing with the rest of your instrument tracks while listening. Generally, other instruments will be softer in the mix than your vocal, main accompaniment, bass, and drums. We’ll get into fine tuning the mix later.
LISTENING IS KEY
If you’ve followed the steps above you now have a basic mix that should be satisfactory for now. You can use this mix while replacing your scratch vocal with a better take, or add intros and outros, or instrumental breaks, depending on what you want to hear in your song. Keep any additional tracks away from the vocal, giving them their own sonic space in the mix.
Learn to “hear” the different instruments in the mix. Good listening is an invaluable skill that takes time to develop. Once you have it, you can put a mix together in minutes. Unfortunately, you’ll also be able to hear bad mixes in others’ productions. Once you get good at it, you’ll find yourself becoming a critical listener. You may find this ruins your listening experience of other people’s music. Sorry. You now have “producer’s ears.” It goes with the territory.
There’s much more to come in this little series including using EFFECTS like reverb and delay, and using BUSSES to group your tracks for fast mixing.
Have fun!
Bob Buford, Producer
Summertown Recording Studios
Longmont, Colorado
Last edited by Bob Buford; 11/23/16 04:55 AM.
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Excellent post Bob! Looking forward to the next one!!
One thing I do at the early stages of a mix is use a pink noise generator to balance the volume levels of all my tracks. It is a quick and easy way to tame a mix with a bunch of tracks!
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Hey John
Thanks for the input. How about sharing a bit more detail on how and why you actually do that. Some good info there.
Thanks,
Bob
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Wow, phenomenal post, Bob! I love resources like this. I'll definitely be sending some people to this 
Will - PG Music
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Hey John
Thanks for the input. How about sharing a bit more detail on how and why you actually do that. Some good info there.
Thanks,
Bob Well, I am no expert but I have read about this trick and use it to start every mix. It simply serves as a very quick starting point for mixing. Basically you get a pink noise generator plug for your DAW. Then you solo the pink noise generator and one of your tracks. Adjust the track volume until it is barely audible above the noise. Repeat for each track soloing only the noise and the single track. When you are done mute or remove the pink noise and all of your tracks should be at a nice starting point for mixing. http://www.soundonsound.com/techniques/mixing-pink-noise-referencehttps://www.youtube.com/watch?v=hsV4mGTLB8s
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Wow, phenomenal post, Bob! I love resources like this. I'll definitely be sending some people to this Hi Will, Glad you like the article. Most of the points in there come from questions I'm asked over and over again. Thought it would be quicker and easier to just put it all down so I can refer folks when necessary. Since we all do things a little differently, if you have anything to add from your own experience please feel free to post it. Thanks, Bob 
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This has been a valuable post for me. I'm just getting started and had no clue of how to arrange the mix using pan. This helps alot....keep the posts coming. There are many others out here like me. Thanks...
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Thanks. What a great post. I'm going to try this on some of my backing tracks. At the moment I just leave them all at 90 and pan them a bit (if I remember) As always it's the obvious stuff that we never do. I'm wondering about using it with my live BIAB mixes as well as rendered Wav / MP3 files etc?
Just thinking how nice it would be if BIAB 2017 had some mix automation built in to allow us to automate varying the mix during playback? I guess Realband can do that, but I'm not sure how solid that would be live.
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This has been a valuable post for me. I'm just getting started and had no clue of how to arrange the mix using pan. This helps alot....keep the posts coming. There are many others out here like me. Thanks... Hey John, You're very welcome. Try experimenting with different settings and output several files that you can compare to find the mix you prefer. We'll get more into the details in the upcoming parts. Have fun... Bob
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Thanks. What a great post. I'm going to try this on some of my backing tracks. At the moment I just leave them all at 90 and pan them a bit (if I remember) As always it's the obvious stuff that we never do. I'm wondering about using it with my live BIAB mixes as well as rendered Wav / MP3 files etc?
Just thinking how nice it would be if BIAB 2017 had some mix automation built in to allow us to automate varying the mix during playback? I guess Realband can do that, but I'm not sure how solid that would be live.
lambada, I think all that's possible with just about any DAW. We'll get into "envelopes" to automate volume, pan, etc in upcoming articles. Give it a try. Experiment to your heart's content and output different mixes to see what works for you. Thanks, Bob
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Hi bob. Great post! Looking forward to the next one.
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Seems odd that you would pan drums and bass. I always keep these right in the center, especially drums which is a stereo file (as rendered from BIAB). Although I suppose 5% is pretty much the same as zero.
These days what I struggle with the most is making a mix that sounds good in both stereo and mono, because most people seem to listen on mono devices with crappy speakers these days (phones, iPads, etc.) . I come up with a mix that sounds good in stereo, but when I turn on the mono button something will be too loud, or not loud enough.
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Seems odd that you would pan drums and bass. I always keep these right in the center, especially drums which is a stereo file (as rendered from BIAB). Although I suppose 5% is pretty much the same as zero.
These days what I struggle with the most is making a mix that sounds good in both stereo and mono, because most people seem to listen on mono devices with crappy speakers (phones, iPads, etc.) these days. I come up with a mix that sounds fantastic in stereo, but when I turn on the mono button something will be too loud, or not loud enough.
Hey BA, Yea...panning drums and bass may seem counter-intuitive, but just a tad helps keep that vocal clean. Give it a try and see if you can tell the difference. I used to keep 'em right in the middle too; I think most people do. We go to a lot of trouble and expense to produce great recordings and some people, not nearly all fortunately, crush it down to nothing and play it on crappy gear. It's a shame. But those are NOT the folks I write and record for. I know people who don't even listen to lyrics; for them it's all abut the BEAT. Whatever. If you try some of this let me know if you think it helps your final product. Thanks for your response. Really like your work. Bob
Last edited by Bob Buford; 11/24/16 03:07 AM.
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Hi bob. Great post! Looking forward to the next one. Hi Joanne! Thank you so much. Hope it helps some folks. B 
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Seems odd that you would pan drums and bass. I always keep these right in the center, especially drums which is a stereo file (as rendered from BIAB). Although I suppose 5% is pretty much the same as zero.
Hey BA, Yea...panning drums and bass may seem counter-intuitive, but just a tad helps keep that vocal clean. Give it a try and see if you can tell the difference. I used to keep 'em right in the middle too; I think most people do. [snip] If you try some of this let me know if you think it helps your final product. Bob Hi Bob, Sure, I will certainly give it a try next time I do a mix. Cheers, Dave
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... These days what I struggle with the most is making a mix that sounds good in both stereo and mono, because most people seem to listen on mono devices with crappy speakers these days (phones, iPads, etc.) . I come up with a mix that sounds good in stereo, but when I turn on the mono button something will be too loud, or not loud enough.
At some point in the mixing phase (after you got the panning the way you want) you should mix in mono only for awhile. I have also heard that EQ'ing in mono is an excellent way to get sonic separation since you won't be fooled by the stereo panning. Use professional tracks from your favorite artist as a reference tool. Note that they always sound good in mono also. Generally if it sounds good in mono it will sound great in stereo.
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... These days what I struggle with the most is making a mix that sounds good in both stereo and mono, because most people seem to listen on mono devices with crappy speakers these days (phones, iPads, etc.) . I come up with a mix that sounds good in stereo, but when I turn on the mono button something will be too loud, or not loud enough.
At some point in the mixing phase (after you got the panning the way you want) you should mix in mono only for awhile. I have also heard that EQ'ing in mono is an excellent way to get sonic separation since you won't be fooled by the stereo panning. Use professional tracks from your favorite artist as a reference tool. Note that they always sound good in mono also. Generally if it sounds good in mono it will sound great in stereo. Really good points there. When I'm not in the middle of a client or personal project, I spend a lot of time "AB'ing" some of my favorite artists' songs. For those who haven't heard the term it usually refers to attempting to recreate a mix perfectly of a song you know well. The process really teaches you to LISTEN. I've learned so much from doing this. I may not use the exact process someone else used to create a song, but if I get close enough I usually learn a lot on the trip. By this time I have enough cover songs recorded from my AB'ing exercises I could release several albums...if I could afford the royalties. I think a lot of folks tend to stick to what works for them, or doesn't, because they get comfortable with the process and don't really want to experiment with new things. Recording, mixing, mastering are extremely subjective after a point. There are literally millions of possibilities when creating a project. So I think you have to have fun with it. Experiment and learn to listen. Thanks for your post. Some really good things in there to consider. Bob
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Bob, you have supplied some very valuable information here.
I was doing everything except that volume mix tip as I have always tried to mix with everything playing. That tip sounds, no pun intended, like a winner that I am going to try on my next mix.
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Bob, you have supplied some very valuable information here.
I was doing everything except that volume mix tip as I have always tried to mix with everything playing. That tip sounds, no pun intended, like a winner that I am going to try on my next mix. Mario! Hey man... Some of the points in my article are probably "DUH!" to a lot of experienced folks. But I think for a lot of us there are holes in our knowledge. And for folks just starting out...it's ALL holes. So I thought perhaps creating a baseline for mixing might help people get started with a mix they could be proud of and thereby encouraged to move on from there. Also, I thought it would be good to open a dialog and learn what other folks are doing. Nearly everyone has something to teach us. Mixing by gradually bringing in all the instruments has also given me ideas for "building" a song where I would probably have just thrown everything into the mix from the first bar. Sometimes I think "Wow, that vocal with just a guitar and violin sounds great!" Sort of an experiment in "less is more." My mantra for this series of articles: Don't be afraid to EXPERIMENT and learn to LISTEN. Here's an example; we all have a few I guess. I initially wanted to just take off on this, like a bluegrass tune, but thought better of it when I started mixing: Faithless Heart Thanks for your post. I'd be interested to hear your thoughts on what you come up with. Bob
Last edited by Bob Buford; 11/24/16 04:52 AM.
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Wow, phenomenal post, Bob! I love resources like this. I'll definitely be sending some people to this Hi Will, Glad you like the article. Most of the points in there come from questions I'm asked over and over again. Thought it would be quicker and easier to just put it all down so I can refer folks when necessary. Since we all do things a little differently, if you have anything to add from your own experience please feel free to post it. Thanks, Bob Yeah, the biggest tip I give people is learn everything and then forget half of it! It's honestly such an "art" as opposed to a science, in my opinion, that the best thing a person can do for their mixing abilities is just spend a LOT of time discovering what they like and forming their own opinions. That's why I love posts like yours so much, because they give out so much information that people can try out and pick through and learn from! Another tip that I adhere to all the time is that when you want to make something louder... you turn everything else down (instead of turning the main thing up). Has cleaned up my mixes so much it's unreal! Who knew that if I wanted the guitar to be louder what I really wanted was a quieter bass?
Will - PG Music
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- 20 Bonus Unreleased RealTracks and RealDrums with 20 RealStyle.
- FLAC Files (lossless audio files) for the 20 Bonus Unreleased RealTracks and RealDrums
- MIDI Styles Set 93: Look Ma! More MIDI 16: SynthMaster
- MIDI SuperTracks Set 47: More SynthMaster
- Instrumental Studies 25 - Soul Jazz Guitar Soloing
- Artist Performance Set 20: Songs with Vocals 10
- RealDrums Stems Set 10: Groovin' Sticks
- SynthMaster Sounds & Styles Set 2 (sounds & styles with audio demos)
Learn more about the Bonus PAK and 49-PAK for Band-in-a-Box® 2026 for Mac®!
XPro & Xtra Styles PAK Sets On Sale Now - Until May 15, 2026!
All of our XPro Styles PAKs and Xtra Styles PAKs are on sale until May 15th, 2026!
It's the perfect time to expand your Band-in-a-Box® style library with XPro and Xtra Styles PAKs. These additional styles for Band-in-a-Box® offer a wide range of genres designed to fit seamlessly into your projects. Each style is professionally arranged and mixed, helping enhance your songs while saving you time.
What are XPro Styles and Xtra Styles PAKs?
XPro Styles PAKs are styles that work with any version (Pro, MegaPAK, UltraPAK, UltraPAK+, or Audiophile Edition) of Band-in-a-Box® 2025 (or higher). XPro Styles PAKS 1-10 includes 1,000 styles!
Xtra Styles PAKs are styles that work with the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box® 2025 (or higher). Xtra Styles PAKs 1-21 includes 3,700 styles (and 35 MIDI styles)!
The XPro & Xtra Styles PAKs are not included in any Band-in-a-Box® package.
The XPro Styles PAKs 1-10 are available for only $29 ea (reg. $49 ea), or get them all in the XPro Styles PAK Bundle for only $149 (reg. $299)! Listen to demos and order now! For Mac or for Windows.
The Xtra Styles PAKs 1-21 are available for only $29 ea (reg. $49 ea), or get them all in the Xtra Styles PAK Bundle for only $199 (reg. $349)! Listen to demos and order now! For Mac or for Windows.
Note: XPro Styles PAKs require Band-in-a-Box® 2025 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 19 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version as they require the RealTracks included in the UltraPAK, UltraPAK+, or Audiophile Edition.
Supercharge your Band-in-a-Box today with XPro Styles PAKs and Xtra Styles PAK Sets!
Band-in-a-Box 2026 for Mac Videos
With the release of Band-in-a-Box® 2026 for Mac, we’re rolling out a collection of brand-new videos on our YouTube channel. We’ll keep this forum post updated so you can easily find all the latest videos in one convenient spot.
Whether you're exploring new features, checking out the latest RealTracks or Style PAKs, this is your go-to guide for Band-in-a-Box® 2026.
Check out this forum post for "One Stop Shopping" of our Band-in-a-Box® 2026 Mac Videos!
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