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Mixing: Using a Reference Track
Most folks would benefit from using a reference track to guide their own mix.
For the uninitiated, a reference track is an existing (pro) song that you use as a comparison to your own mix.
Begin by selecting a song with a similar sound to what you intend to create.
Try to find something as close to the tempo (bpm) of what you are mixing as possible.
Rip a copy from a favorite CD or download a copy from iTunes or Amazon (or wherever).
Add that as a track in your mix.
Needless to say, keep the reference track MUTED as you mix your tracks.
On a regular basis, SOLO the reference track. And see how your mix compares.
Do small segments.
Your DAW should allow you to SOLO the reference track then unsolo to a MUTED state to give a back-and-forth, so you are listen to either your mix or the reference track.
When you are listening to the chorus of your song, shift your reference track so the chorus of it lines up with yours.
Things to pay attention to...
Your Vocal.
Does it fit in your mix the way the vocal in the pro song does?
If you have never done this, you will likely be surprised at how "dull" the pro vocal sounds compared to what you are doing with your own.
Most hobbyist have a tendency to make their vocal too bright - and a bit harsh because of it - because they are focusing on only the vocal and trying to get it "above the mix"...and jacking up the high EQ is the only thing they can think to do.
Most people would benefit from rolling off the really high end and finding other ways to get the vocal in the right place. A bit more compression? of an EQ bump at 1k? A duplicated track with no effects?
Generally there should be a "warmth" to a vocal, but not be "muddy".
It is a balancing act - and the reason there are so many videos about vocal processing.
Drums.
Does your drum levels match your reference track? (Most people mix their drums too low).
Generally, drums should be at a volume level similar to the vocal.
Piano.
Like drums, most people mix their pianos too low. And typically, they are not bright enough.
The BIAB pianos seem to be EQ'd well for a solo piano/vocal mix, but are too "dark" or "heavy" for a big mix, so your mix will get a little "muddy in the middle".
Try dropping out the EQ in the low end and adding a shelf on the high side starting around 2k - then bump that up 3-6 dB...
And make it loud enough to easily hear it.
The piano is a percussive instrument (meaning, like a drum, you "hit" it). If you want pads, use an electric piano or strings or a synth...don't mix your acoustic piano like a pad...
Acoustic guitars.
A lot of people make acoustic guitars too loud in a full mix. They should be "subtle", often "just there" or even "subliminal". Depends on the song, of course, but many people don't pay attention to when they should be more "under the mix".
This likely comes from the fact that acoustic guitar is what they play and what they write with and are accustomed to hearing it all the time.
Harmonies.
Do they sit right for the style of song? Some should be really blended in the background - similar to pads. Some should be like a duet.
Check it against the harmonies in your reference track.
Bass.
Listen to your reference track concentrating on hearing the bass.
Can you hear yours the same way?
That is typically another balancing act between volume and the right EQ.
If you turn your bass up and it makes your mix muddy (heavy bottom) look at your EQ to fix that.
The Chorus.
Does your chorus have the impact that the pro chorus does? If not, think about why. The likely answer is that you do not have enough "helping instruments" to accomplish that sound.
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Excellent. I am getting ready to post something related...
Synchroncity!
Wait. Is that a good song title? Or should I go with "Every Little Thing She Does is Magic?"
Hmmmmmmm.
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Most hobbyist have a tendency to make their vocal too bright - and a bit harsh because of it - because they are focusing on only the vocal and trying to get it "above the mix"...and jacking up the high EQ is the only thing they can think to do. Guilty as charged! Each time I start on a mix, I intend to use a reference. Then I get deep into the mix, figure it's "good enough", get tired of tweaking it, and send it out the door. Then I listen to the mix some time later and wonder "That the hell was I thinking!", and promise myself that next time I'll use a reference. Lather, rinse, repeat. 
-- David Cuny My virtual singer development blogVocal control, you say. Never heard of it. Is that some kind of ProTools thing?BiaB 2025 | Windows 11 | Reaper | Way too many VSTis.
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Great info. And it’s reflected in your mixes. Your suggestions regarding the gain on pianos and drums alone has been a game changer for us. I’m fairly consistent on using a reference when mastering—often letting Ozone match my reference and then tweaking. But I’m a slackard when it comes to mixing with a reference. Thanks for the kick in the butt  Bud
Our albums and singles are on Spotify, Apple Music, Amazon Music, YouTube Music, Pandora and more. If interested search on Janice Merritt. Thanks! Our Videos
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I learned the hard way to start with bass, drums and vocals and gradually bring other stuff in around them as ornaments.
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I learned the hard way to start with bass, drums and vocals and gradually bring other stuff in around them as ornaments.
That's the way most producing is done, when you listen to some music, you hear a good strong sound on the vocals bass and drums, and not a lot of anything else and its a big hit.
The beat counts.
Last edited by beatmaster; 06/23/18 01:12 PM.
win 10 64 bit 16gb,i7 chip, ssd 500gb, m-audio air, ,Roland BK-7M, 1000,shure sm7b,sonar,acid,mixcraft, variety of plugins.Sample tank 3,Kontakt. TC Helicon Voicelive 3 2 . https://beatmaster1.bandcamp.com/releases
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I was shocked when I recently re-listened to Carolina in My Mind by James Taylor and realized it is mostly bass and drums and very faint guitar. In my memory it was all guitar. Guess my memory was off!
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I was shocked when I recently re-listened to Carolina in My Mind by James Taylor and realized it is mostly bass and drums and very faint guitar. In my memory it was all guitar. Guess my memory was off! Not necessarily. If the last time you listened to the song it was on a compact diskette, you're not listening to the original mix but to a mix remixed and remastered for distribution on a cd. Also, much depends on when it was transferred to cd. Many reissue cds from 1985 to 2000 the mix and mastering engineers did not have a good grasp of the medium and how to best use the medium. In many cases they did not even have the original master tapes as source material.
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Let's keep to topic, okay?
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Dear Floyd, I think we are on topic. I was using exactly what you are talking about to mix an acoustic song using Carolina in my Mind as a reference. I was surprised to hear how faint the guitar was as opposed to my memory. And how loud and well mixed the bass and drums were: to your points. So my response was to validate what you said. Mixing: Using a Reference Track
Most folks would benefit from using a reference track to guide their own mix.
For the uninitiated, a reference track is an existing (pro) song that you use as a comparison to your own mix.
Begin by selecting a song with a similar sound to what you intend to create.
Try to find something as close to the tempo (bpm) of what you are mixing as possible.
Rip a copy from a favorite CD or download a copy from iTunes or Amazon (or wherever).
Add that as a track in your mix.
Needless to say, keep the reference track MUTED as you mix your tracks.
On a regular basis, SOLO the reference track. And see how your mix compares.
Do small segments.
Your DAW should allow you to SOLO the reference track then unsolo to a MUTED state to give a back-and-forth, so you are listen to either your mix or the reference track.
When you are listening to the chorus of your song, shift your reference track so the chorus of it lines up with yours.
Things to pay attention to...
Your Vocal.
Does it fit in your mix the way the vocal in the pro song does?
If you have never done this, you will likely be surprised at how "dull" the pro vocal sounds compared to what you are doing with your own.
Most hobbyist have a tendency to make their vocal too bright - and a bit harsh because of it - because they are focusing on only the vocal and trying to get it "above the mix"...and jacking up the high EQ is the only thing they can think to do.
Most people would benefit from rolling off the really high end and finding other ways to get the vocal in the right place. A bit more compression? of an EQ bump at 1k? A duplicated track with no effects?
Generally there should be a "warmth" to a vocal, but not be "muddy".
It is a balancing act - and the reason there are so many videos about vocal processing.
Drums.
Does your drum levels match your reference track? (Most people mix their drums too low).
Generally, drums should be at a volume level similar to the vocal.
Piano.
Like drums, most people mix their pianos too low. And typically, they are not bright enough.
The BIAB pianos seem to be EQ'd well for a solo piano/vocal mix, but are too "dark" or "heavy" for a big mix, so your mix will get a little "muddy in the middle".
Try dropping out the EQ in the low end and adding a shelf on the high side starting around 2k - then bump that up 3-6 dB...
And make it loud enough to easily hear it.
The piano is a percussive instrument (meaning, like a drum, you "hit" it). If you want pads, use an electric piano or strings or a synth...don't mix your acoustic piano like a pad...
Acoustic guitars.
A lot of people make acoustic guitars too loud in a full mix. They should be "subtle", often "just there" or even "subliminal". Depends on the song, of course, but many people don't pay attention to when they should be more "under the mix".
This likely comes from the fact that acoustic guitar is what they play and what they write with and are accustomed to hearing it all the time.
Harmonies.
Do they sit right for the style of song? Some should be really blended in the background - similar to pads. Some should be like a duet.
Check it against the harmonies in your reference track.
Bass.
Listen to your reference track concentrating on hearing the bass.
Can you hear yours the same way?
That is typically another balancing act between volume and the right EQ.
If you turn your bass up and it makes your mix muddy (heavy bottom) look at your EQ to fix that.
The Chorus.
Does your chorus have the impact that the pro chorus does? If not, think about why. The likely answer is that you do not have enough "helping instruments" to accomplish that sound.
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Great tips FJ! Thank you for posting these.
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Dear Floyd,
I think we are on topic.
I was using exactly what you are talking about to mix an acoustic song using Carolina in my Mind as a reference.
I was surprised to hear how faint the guitar was as opposed to my memory.
And how loud and well mixed the bass and drums were: to your points.
So my response was to validate what you said.
Indeed. Responses to your observation looked as though they might take off in another direction (as things have a tendency to do around here...) I just wanted to make sure we stayed on the USING A REFERNCE TRACK track. (track track) (track track) (track track)
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Yes using a suitable reference track can be very useful. I just wanted to add that most commercial reference tracks will be very loud having been mastered to make the most impact. It is very important that when you make your comparisons between your own mix and the sound of the reference track to make sure they are at similar sound volumes. In other words turn down the reference track to the level of your mix. The human ear tends to favour a loud mix and think it sounds better when it is just louder.
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Floyd, I agree. Let's stay on track. And what are all these people doing saying they can write like Adele and then won't tell me what midi channel to put my pan flute on because I think Led Zeppelin is the greatest band that ever was and nobody else deserves to live and PG Music better get its act together soon I tell ya. NOW--we are on track!!!  Where do I find the delete button....wait..hold on....
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Good info.
To use a reference track properly, one must of course, understand the principles behind the mixing. Proper use of reverb, compression, EQ, etc.... for example, what happens in the sonic landscape to a solo track when you change the shelving on the EQ of a vocal or guitar and how that reacts in the bigger picture of the total mix.
One must also know what they are listening for, notice when something is being done, know and understand exactly what that something is, and understand and know how that particular sound is achieved. ( ex: what specific knobs to turn, what levels to change, why, and by how much)
In other words, it's not as easy as A/B the track with your mix. One must learn to listen.... and this is a topic that could really go off on lots of rabbit trails because speakers, rooms, headphones, and so many other factors play into that single topic of listening.
You can't fix what you don't hear.... no matter what the cause.
In all fairness though, you did provide some good information on each of the points you discussed.
Last edited by Guitarhacker; 06/28/18 02:56 AM.
You can find my music at: www.herbhartley.comAdd nothing that adds nothing to the music. You can make excuses or you can make progress but not both. The magic you are looking for is in the work you are avoiding.
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One other thing, obvious to some, but maybe not to others.
When using a reference track, it's important to make sure to not have the effects on your song affect the reference. Otherwise it is futile. So if you import the reference track to your project, make sure that track is not altered by the main out effects.
You want that one to sound as original sounding as possible.
Like I said, pretty obvious, but something to check.
I've been caught by things like this that appeared obvious afterwards.
Doubt I'm alone here.
Last edited by rharv; 06/28/18 01:27 PM.
I do not work here, but the benefits are still awesome
Make your sound your own!
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prolly common sense but you would want to bring in your ref track in a lossless format such as WAV and not a ripped MP3, right?
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I'm going to start doing this more often with the whole mix.
When mixing my own voice/vocal I often use a reference vocalist. Is that too far off topic?
It's usually Alan Jackson or Ronnie Dunn for my lower and mid registers and Phil Vassar for my higher register. I'm not saying I sound like either of them but I try to eq and compress my voice to be similar because I sing a lot of country now. I simply bounce back and forth between various songs of theirs on youtube and my own track. I don't think it comes out like theirs in the end but I think it helps me to not sound too cold or thin.
I also try to imitate what "I imagine" they are doing during recording as far as mic technique and expression, controlling siblance, pops, breath, distance, movement and things like that.
Does the noise in your head bother me ?
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prolly common sense but you would want to bring in your ref track in a lossless format such as WAV and not a ripped MP3, right? A high quality mp3 (320 - or even 256) should work - but use whatever you've got - the better quality...the better - obviously (but not necessarily necessary) (I seem to be double-wording a lot in this thread). The point to a Reference Track is more about getting things to sit right in a mix - the vocal in particular...without being cold and harsh - but also all the instrument. I've pointed out drums, bass, piano, acoustic guitars because many people put one or more of those "in the wrong place". An 256 mp3 can give you the reference one might need...
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I'm going to start doing this more often with the whole mix.
When mixing my own voice/vocal I often use a reference vocalist. Is that too far off topic?
It's usually Alan Jackson or Ronnie Dunn for my lower and mid registers and Phil Vassar for my higher register. I'm not saying I sound like either of them but I try to eq and compress my voice to be similar because I sing a lot of country now. I simply bounce back and forth between various songs of theirs on youtube and my own track. I don't think it comes out like theirs in the end but I think it helps me to not sound too cold or thin.
I also try to imitate what "I imagine" they are doing during recording as far as mic technique and expression, controlling siblance, pops, breath, distance, movement and things like that. This is perfectly "on topic" I love your list of vocal references! All excellent choices. (Phil was friends with a friend of mine - saw him at the Bluebird a couple of times. A really nice guy.)
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Our new jazz, funk & blues RealTracks include a groovin’ collection of RealTracks and RealDrums! These include more requested “soul jazz” RealTracks featuring artists Neil Swainson (bass), Charles Treadway (organ), Brent Mason (guitar), and Wes Little (drums). There are new “smooth jazz” styles (4), which include a RealTracks first: muted trumpet, as well as slick new smooth jazz brushes options for drums. Blues lovers will be thrilled—there are more “classic acoustic blues” styles, including guitar (5), bass (4), and drums (10) with blues master Colin Linden, featuring understated and tasty background acoustic soloing, plus brushes drums and acoustic bass. There are also new electric blues RealTracks, including electric blues with PG favorite Johnny Hiland (3) and soulful electric slide guitar from Colin Linden (4). If you love funk & gospel, there are great new options this year, including gospel organ (3) from Charles Treadway, as well as new funk, tango, and rock ’n’ roll drums (3) and bass (1). And for big, bold arrangements, we have uptempo soul horns (4) featuring a three-part hip horn section with options for a full mix or stems of each individual horn — plus an accompanying rhythm section (4) of drums, bass, guitar, and electric piano!
Rock & Pop (Sets 476–482):
Our new rock & pop RealTracks bring a powerful mix of requested favorites, fresh genres, and modern chart-inspired styles! We have more of our popular “Producer Layered Acoustic Guitars (15)” featuring Band-in-a-Box favorite Brent Mason. We’ve continued our much-requested disco styles (10), and added new Celtic guitar (5) with a more basic, accessible approach than our previous Drop-D or DADGAD offerings. There are also highly requested yacht rock styles (17), inspired by the smooth, polished soft-rock sound of the late ’70s and early ’80s — laid-back grooves, silky electric pianos, warm textures, elegant harmonic movement, and pristine production aesthetics. Fans of heavier styles will love our new glam metal (13), capturing the flashy, high-energy sound of ’80s arena-ready guitar rock. We also have a set of rootsy modern-folk rock (18), with a warm, organic sound combining contemporary folk textures and driving acoustic strumming. And we’ve added lots of new modern pop styles (16) — the kinds of sounds you’re hearing on the radio today, featuring exciting new drums, synths, and cutting-edge RealTracks arrangements.
Country, & Americana (Sets 483–488):
Our new country & Americana RealTracks deliver a rich collection of acoustic, electric, and roots-inspired styles! We have new country pop (9) with legendary guitarist Brent Mason. There is also a potpourri (14) of bouzouki, guitars, banjo, and more, perfect for adding texture and character to contemporary acoustic arrangements. We’ve added funky country guitar (5) with PG favorite Brent Mason, along with classic pedal steel styles (5) featuring steel great Doug Jernigan. There are more country songwriter styles (8) that provide intimate, rootsy foundations for storytelling and modern Americana writing. Finally, we have “background soloing” acoustic guitar (12) with Brent Mason — simpler, but still very tasty acoustic lines designed to sit beautifully behind vocals or act as a subtle standalone solo part.
Check out all the 202 new RealTracks (in sets 468-488)!
And, if you are looking for more, the 2026 49-PAK (for $49) includes an impressive collection of 20 bonus RealTracks, featuring exciting and inspiring additions to add to your RealTracks library. You'll get new country-rhythm guitar styles from PG Music favorites Johnny Hiland and Brent Mason, along with modern-pop grooves that capture today’s radio-ready sound! There are also new indie-folk styles with guitar, bass, 6-string bass used as a high-chording instrument, acoustic guitar, and banjo. Plus, dedicated "cymbal fills" RealDrums provide an added layer that work very well with low-key folky styles with other percussion.
The 2026 49-PAK is loaded with other great new add-ons as well. Learn more about the 2026 49-PAK!
2026 Free Bonus PAK & 49-PAK for Band-in-a-Box® 2026 for Mac®!
With your version 2026 for Mac Pro, MegaPAK, UltraPAK, UltraPAK+, Audiophile Edition or PlusPAK purchase, we'll include a Bonus PAK full of great new Add-ons for FREE! Or upgrade to the 2026 49-PAK for only $49 to receive even more NEW Add-ons including 20 additional RealTracks!
These PAKs are loaded with additional add-ons to supercharge your Band-in-a-Box®!
This Free Bonus PAK includes:
- The 2026 RealCombos Booster PAK:
-For Pro customers, this includes 27 new RealTracks and 23 new RealStyles.
-For MegaPAK customers, this includes 25 new RealTracks and 23 new RealStyles.
-For UltraPAK customers, this includes 12 new RealStyles.
- MIDI Styles Set 92: Look Ma! More MIDI 15: Latin Jazz
- MIDI SuperTracks Set 46: Piano & Organ
- Instrumental Studies Set 24: Groovin' Blues Soloing
- Artist Performance Set 19: Songs with Vocals 9
- Playable RealTracks Set 5
- RealDrums Stems Set 9: Cool Brushes
- SynthMaster Sounds Set 1 (with audio demos)
- iOS Android Band-in-a-Box® App
Looking for more great add-ons, then upgrade to the 2026 49-PAK for just $49 and you'll get:
- 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®!
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