How to make better mixes in your bedroom studioOne of the biggest challenges of producing and mixing music is not knowing how your mix will translate in real-life environments. Will the bass cut through? Are the vocals too harsh? While you’re looking for answers to these questions, you may find yourself daydreaming about building your perfect studio one day…

READ MORE: Here’s my perfect vocal chain and the plugins that get me there

But, even if you’re a seasoned mixing engineer working out of an acoustically treated room, you’ll still need to familiarise your ears with the speakers and headphones you use daily.
The trick to getting any mix right is to work around the limitations of your tools and environment. Here are a few tips on how to spot issues unique to your setup and improve your mixes in spite of them.
Monitoring in an untreated room
You don’t have to study acoustics to understand how sound travels in a room. Just hit play and take a walk around. Notice how the bass sounds quieter or more amplified depending on where you position yourself? Maybe some frequencies in the midrange are getting lost, too. Add the natural reverberations of your room into that chaos, and you’ll soon yearn for your headphones.
Despite all these pitfalls, hearing your mix through a pair of accurate studio monitors is still invaluable. Even the highest-quality headphones are designed to compensate for the lack of distance between the sound source and your ears.
You can’t expect your headphones to sound identical to your monitors. But you can create a balanced mix that sounds great on both.
To set yourself up for success, consider:
How dead the room sounds. The more furniture there is, the fewer echoes you’ll encounter. Adding a carpet and thick curtains may also help dampen reflections.
Where you place the monitors — and yourself. Your monitors should be placed on stands, ideally at ear level. Create space between your desk and monitors to minimise reflections. Imagine an equilateral triangle between the monitors and your position in the room for best results.
Mixing with open-back headphones
As soon as you trap sound in a confined space, you risk frequency build-up. Your mix may sound great on a pair of noise-cancelling headphones, but there’s no guarantee it’ll translate through laptop or phone speakers if they’re your primary reference point.
With a pair of open-back headphones, you’ll get one step closer to a neutral listening experience. Sennheiser HD 490s and Neumann NDH30 are strong choices that provide transparent sonic detail for efficient mixing.
All that being said, it’s tricky to achieve a good balance between the bass and treble with headphones. This is where visual frequency spectrum analysers can help.
Trusting visual guides with caution
Spectrum analysers, loudness meters, and correlation meters are especially useful when ear fatigue sets in after a long session.
Add a parametric EQ with an analyser on your master bus to observe how your mix behaves across the frequency spectrum. This way, you can see which bands are overcrowded or lacking impact. And, if you want your mix to sound like a particular reference track, it’ll be easier to compare and contrast using a visual tool.
Universal Audio’s Apollo interfaces come with a Mono button, but not every producer is one knob away from checking their mixes in mono on the fly. With a correlation meter on your master bus, you’ll be able to gauge how well your stereo mix will translate through mono playback systems.
Likewise, it doesn’t hurt to understand concepts such as true peak, perceived loudness, and dynamic range, all of which may influence how you approach volume levels across the track.
These tools exist to guide you through your mixing process. But, be sure to trust your ears first and foremost. When you feel stuck, revisiting your mix after a day or two is often the best remedy.
When to turn the monitors on
Relying on your monitors in an untreated room during the early stages of mixing can mislead you. That said, it’s important to give your ears a break from headphones and switch things up as you near the finish line.
If you’re still on the market for monitors, consider a pair that matches the size of your room, like Focal Solo6 or HEDD Audio’s Type 05 A-Core. Larger monitors provide a fuller-sounding low-end, but even top-tier monitors won’t eliminate bass build-up in a small space.
In fact, even in professional studios, engineers often calibrate their monitors to fine-tune the sound. For a neutral listening experience, some room correction is necessary even in acoustically-treated spaces.
To get the most out of your monitors, listen to your mix at three different volume levels:

Loud — to detect muddiness, which is often exaggerated in untreated spaces.
Quiet — to ensure all key elements remain present when the mix is barely audible.
Comfortable — to guide your overall decision-making process.

Cross-referencing your mix
Once the bulk of the mix is complete, check it on multiple playback systems. Laptop speakers, phone speakers, commercial headphones, and car stereos are all valid options, as they reflect the mediums your audience will likely use.
If you’re in an experimental mood, take your cross-referencing one step further by testing your mix in virtual environments. From Sony’s 360 VME to Lewitt’s Space Replicator, several digital tools emulate professional studios.
Remember — you can create great mixes, even in a bad room. What matters most is consistent awareness, efficient workflow, and making the most of the tools you have.
The post How to make better mixes in your bedroom studio appeared first on MusicTech.

Classical Highlights for July 2025The key to a good recording is something that really engages the listener without the visual aspect of seeing a performance live or on film. This month there were many albums that stood out as something worth hearing, with music ranging from the medieval age to the 2020s. Explore these aural presentations and many more in our July classical review roundup.

A top designer was banned from Dribbble. Now he’s building his own competitor.Dribbble is enforcing its terms of service that lets it take a cut of designers' work, and kicking out those who don't comply. One top designer has had enough, and is building his own startup instead.

Kris Bowers (The Wild Robot, Bridgerton) on his approach to composing character themes
Kris Bowers (The Wild Robot, Bridgerton) walks through how he approaches character themes, composing music for two iconic characters.

GENIUS Act scrutinized for stablecoin yield ban as TradFi tokenization gains steamThe GENIUS Act’s ban on yield could dampen the appeal of digital dollars, particularly as tokenization efforts in traditional finance gain momentum.

Bob Moog Foundation Marks 20th Anniversary of Bob Moog’s Passing With a Month of RemembranceTo carry on the legacy of pioneer synthesizer, Bob Moog, the Bob Moog Foundation is honoring the 20th anniversary of the musician’s passing with a month-long dedicated celebration including special offerings and remembrances. For the month of August, the foundation will release a series of commemorative videos chronicling Moog’s impact with his synthesizers titled Voices for Bob, which will feature insight from members of the music world in regards to Moog’s contributions. The month will additionally offer a streaming of the Synth Legends symposium and a limited edition poster and portrait of Bob Moog on the foundation’s store online.The post Bob Moog Foundation Marks 20th Anniversary of Bob Moog’s Passing With a Month of Remembrance first appeared on Music Connection Magazine.

The Tape Speed KeyboardFor those who experienced any part of the 1960s, even if it’s just experiencing the music from that era here in the future, the sound of the Mellotron is immediately recognizable. The Moody Blues were famous for using the tape-based instrument, and the Beatles and David Bowie produced hits with it as well. It’s haunting sounds are still highly prized today, but the complexity, cost, and maintenance requirement for the tape loops and other moving parts can put many musicians off from owning one. But [Japhy Riddle] has built an instrument without these downsides called the Tape Speed Keyboard.
Unlike the Mellotron which used a tape loop for each of its keys, the Tape Speed Keyboard uses only a single cassette tape. As the name implies, it changes the pitch of the sound by modulating the speed of the single tape housed in its own tape deck. The keyboard itself started off life as a Casio MT-35 but since this is a completely analog instrument, it was rewired so each key is connected to a potentiometer whose output voltage is tuned to a specific tape speed. [Japhy] reports that this is similar to tuning an analog piano and the process can be equally temperamental.
With everything electronic working, [Japhy] turned to making this a more acceptable musical instrument. Predictably, turning the motor on and off for each key press came with a bit of delay, causing the sound to come out goofy and muddy. To solve this problem he changed the design to make the tape play continuously rather than start and stop for a key press, and then modified other keys to be on-off switches for sound output. Since cassette tapes have two sides, he can also play either of two sounds in this way.
With the final polish on, the Tape Speed Keyboard is able to produce completely unique compositions that separate it from even the venerable Mellotron. Be sure to check out the video linked below to hear its sound. There have been plenty of other musical projects based around tape decks as well, including this one inspired by the original Mellotron and this tape deck-based guitar effects pedal.
Thanks to [splashbun] for the tip!

Rafael Ricardo Jiménez-Dan on building Rimas, staying independent, and why he’s all in on music publishingThe founder of one of the world's most important independent labels speaks out on its foundations, and the future of the business
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Musical Sampling Midnight: Tenor Sax Midnight: Tenor Sax is a Kontakt sample library from Musical Sampling, designed for composers, producers, and songwriters who need an expressive, attitude-heavy tenor saxophone in their tracks. It's built to capture the vibe of classic jazz clubs and the powerful, soaring melodies of 80s ballads, providing a versatile and emotional virtual instrument for a wide range of musical genres including jazz, pop, R&B, lo-fi, and film scoring. The library's core philosophy is to deliver a no-holds-barred instrument in a single, playable patch, focusing on bold and expressive performances. The developers expanded upon techniques from their previous "Austin Saxes" library, incorporating multiple mic positions (close and far) and a deeper integration of critical articulations. These articulations are intuitively triggered by a combination of velocity and dedicated "latch keys," allowing for dynamic and nuanced performances without complex key-switching. Midnight: Tenor Sax features a variety of articulations to ensure a lifelike performance. It includes three distinct legato types—slurred, tongued, and glissando—each triggered by different playing velocities. This approach makes it easy to switch between smooth, connected phrases and more punchy, articulated ones on the fly. The library also includes short and long scooped attacks, selectable glissando attacks, and bend-down and gliss-fall releases, all of which contribute to an authentic, human-like feel. The instrument was recorded at Warm Studios in Leander, TX, with a focus on capturing a warm and full-bodied tone. The inclusion of both close and far mic positions gives users the flexibility to blend the sound to fit their mix, whether they need an intimate, upfront solo or a more spacious, ambient sound. Features: Attitude-Heavy Legato Tenor Saxophone: Designed for bold, expressive writing. Intuitive Articulation Switching: Articulations are triggered via velocity and dedicated latch keys, eliminating the need for complex key-switching. Three Legato Types: Features slurred, tongued, and glissando legato, allowing for a wide range of expressive phrases. Two Mic Positions: Close and Far mic positions provide flexibility in mixing. Multiple Round Robins: Ensures natural-sounding sustains without repetition. Authentic Articulations: Includes expressive scoops, bends, and glissandos. Versatile Tonal Quality: Suitable for genres ranging from smoky jazz to 80s power ballads and modern pop. https://youtu.be/UQz3UciEfkI?si=zJhrrSh1K20lfXdN Read More

“The band didn’t like what I was doing”: Why Steven Wilson’s spatial audio Guns ‘N Roses remix album was scrappedSince 2009, Steven Wilson has been transforming classic records into spatial audio experiences. From Chic, to Tears For Fears, to The Who, plenty of artists have asked the Porcupine Tree frontman to remix their tracks – but Guns ‘N Roses weren’t too impressed by Wilson’s work.
While Wilson’s remix of November Rain did see the light of day, with a spatial audio version of  dropping in 2022, there are nearly 40 remixes that remain unheard. Despite Wilson being enlisted to remix 1991’s Use Your Illusion I and II double release, the band pulled the plug. “Well, the challenge was that the band didn’t like what I was doing,” Wilson reveals on a new episode of the Scars And Guitars podcast.

READ MORE: I tested Sony’s 360 Virtual Mixing Environment at Battery Studios — here’s how it works

“I did it all, and then the band basically vetoed it all,” he adds. “So the only thing that ever came out was my remix of November Rain, with a real orchestra added. It’s a shame, ’cause there’s a lot of music on those records… I think I worked on about 40 songs, including outtakes, B-sides. And then the band turned around and decided they didn’t like it!”
Instead of telling him directly, the bad news was delivered through the record company. “They didn’t like Dolby Atmos, they didn’t like the idea of their music being in spatial audio,” Wilson explains. “So that project is kind of just sitting on my hard drive, unreleased and unheard. It’s such a shame.”

In a NME interview earlier this year, Wilson explored his fascination with immersive 3D audio and the potential future of the sound. “Atmos sound has nothing below you, and you could have speakers underneath,” he mused. “But the big innovation won’t necessarily be in expanding spatial – I think it’s how to bring it into a live context. Right now, it’s tricky, as you need a week to acoustically calibrate and tune it, and that’s not practical when you play a new city every night.”
“It’s interesting to see more venues having spatial audio already installed, like The Sphere in Las Vegas,” he added. “If more venues do that, it gives artists chance to tour a more immersive show. I hope that will be a big progress over the next few years.”

While Wilson was at least able to give a new lease of life to November Rain with the help of a 50-piece orchestra, he’s been making his own efforts to breathe new life into rock in his own solo work. 2025’s The Overview record saw Wilson delving back into the realms of prog-rock, attempting to reimagine the prog guitar solo on the track Objects Outlive Us.
“I said to Randy McStine: ‘We’re going to reinvent the notion of the extended classic rock solo’,” Wilson told NME in the same interview.

The post “The band didn’t like what I was doing”: Why Steven Wilson’s spatial audio Guns ‘N Roses remix album was scrapped appeared first on MusicTech.

“Having fun with reverbs, delays and compressors is like being in a toy shop. But if you have a shitty song, None of it matters”: Acclaimed producer Howard Benson on the importance of songwriting before productionWe all get caught up in the production tools we use, but according to acclaimed producer Howard Benson, they matter little if you’re working with a sub-par song.
In a new episode of MusicTech’s My Forever Studio podcast, Benson – who has worked with the likes of Kelly Clarkson, My Chemical Romance and Bon Jovi – stresses the importance of the fundamentals of songwriting above obsessing over creative tools.

READ MORE: “They said, ‘Why would you do that?’”: How Bob Rock’s production approach on The Black Album differed to Flemming Rasmussen’s on previous Metallica records

“Vocals – top line and melody – those are really what sell records,” he explains. “I mean, the rest of the stuff… You walk in as a kid and you look at all the buttons and switches and knobs and strings and all that, and you just go, ‘Oh, my God, that stuff’s so important,’ but it means absolutely nothing at all.
“What really matters is does this feel good or not? Do I like it or not? We’re selling feelings. That’s what we sell. This has been a problem for a lot of artists that have their own DAWs. They get caught up in that part of it and they forget about the song. It’s the song that really matters.”
He says this principle rings true not only in music, but in film and TV, and anything else creative, too.
“If you think about it, it’s the same in the movie business and the TV business,” he goes on. “You have a shitty script – I don’t care how many Avengers and Marvel movies you make. 
“And by the way, that’s what’s wrong with the franchise. Those franchises are suffering because the scripts suck. So that’s something you learn the hard way, because you go into these sessions and you bring all your guitars and your amps and your effect pedals… 
“It’s kind of like a toy shop: you’re just having great fun with reverbs and delays and compressors and all that. But if you have a shitty song, it doesn’t matter what you just did. None of it matters.”

Subscribe to My Forever Studio on Apple Podcasts and Spotify, and check out all episodes so far via MusicTech.
The post “Having fun with reverbs, delays and compressors is like being in a toy shop. But if you have a shitty song, None of it matters”: Acclaimed producer Howard Benson on the importance of songwriting before production appeared first on MusicTech.

“They said, ‘Why would you do that?’”: How Bob Rock’s production approach on The Black Album differed to Flemming Rasmussen’s on previous Metallica recordsWhen Bob Rock took over the reigns of Metallica’s production on 1991’s The Black Album, it was a match made in heaven. However, while the record has gone down in history as one of the biggest selling records of all time, the band were initially confused by the producer’s approach.
When Rock was enlisted to work with Metallica, he entered the thrash metal camp with a different approach to previous producer Flemming Rasmussen. “I don’t follow the rules of metal, which is probably wrong, and I’m sorry,” the producer admits on the latest episode of The Metallica Report. “Because, really, my relationship with Metallica is that I’m a song person, and so it doesn’t matter however you style it.”

READ MORE: I tested Sony’s 360 Virtual Mixing Environment at Battery Studios — here’s how it works

Instead of playing into thrash metal cliché, Rock was eager to help Metallica evolve. While Rasmussen had shaped Metallica’s rise with a trio of killer records (1984’s Ride The Lightning, 1986’s Master Of Puppets and 1988’s …And Justice For All), Rock believed the band’s self-titled 1991 record should sound and feel more live than their previous efforts.
“When I first met them, they told me how they record,” Rock recalls. “Basically, what they knew was how [Rasmussen] put together a record… And I told them, ‘I don’t do that. I record everything live.’”

While the idea of recording live feels self-explanatory – capturing the raw, chaotic energy of thrash metal – Metallica were initially dubious about Rock’s process. “They said, ‘Why would you do that?’” he says. “I said, ‘well, the way [Rasmussen] did it, it’s very mechanical… And you don’t really realise what the whole song is until you finish it. But when you record live, you get a good example of pretty much all the parts.”
As a case in point, Rock notes former Metallica bassist Jason Newsted’s playing style. “Jason wasn’t playing bass like a bass player,” he remembers noticing. “He was just doubling the guitar. So I taught him, like, ‘Dude, be a bass player’… that would’ve never happened if you just did it to a click track, separately recording all the guitars.”

After proving his worth on The Black Album, Metallica would further “embrace” Rock’s process on the following 1996 and 1997 Load and Reload records – ignoring the “rules of metal” and simply penning tracks that inspired them. “I wasn’t the guy that said, ‘No, we’ve gotta copy The Black Album,” Rock says. “I was glad we weren’t copying The Black Album, ’cause you can’t make The Black Album again.”
Initially intended as a double record, Load and Reload would eventually be split into two, with Reload being produced a year later in New York. The shift in location was initially a bid to regain focus in the midst of Metallica’s busy personal lives, but it inadvertently aided the records’ experimental feel.
“We had to get out of town because they all just started having kids!” Rock notes. “They married and stuff, and nothing was getting done. So I said, ‘We’ve gotta get out of here.’ We picked New York, and, in New York, it kind of changed,” he explains. “They started experimenting.”

The production was also significantly different, due to the mixing consoles at Rock’s disposal. “When we were in New York, they didn’t have the console that we used before, the [Solid State Logic] 6000,” he explains. “All the studios that were available had an SSL 9000. It’s a different ball of wax.”
Unfortunately for Rock, he wasn’t a huge fan of the SSL 9000 – and neither was recording engineer Randy Staub. “We fucking hated it,” he recalls. “It kept breaking down… I’m not gonna get into it, but it’s an acquired taste. It’s not what I do, but that’s what we had to finish it with.”
Rock goes on to note that, as a result, Load and Reload are “completely sonically different” records. The SSL 9000 resulted in a far more “aggressive” feel on 1997’s Reload. “To me, it was really apparent that the records were so different,” he adds.
Sometimes, Rock does admit that he wishes he could go back and toy with the records once more. “So I’d like to re-mix Load… but that’s never gonna happen,” he laughs.
The post “They said, ‘Why would you do that?’”: How Bob Rock’s production approach on The Black Album differed to Flemming Rasmussen’s on previous Metallica records appeared first on MusicTech.

Instagram restricts going live to accounts with 1000+ followersInstagram restricts going live to public accounts with at least 1,000 followers, as of last week. It's part of a trend among social and music platforms making it harder for new musicians and creators to build a following.
The post Instagram restricts going live to accounts with 1000+ followers appeared first on Hypebot.

What is a Stream Worth in 2025? [MIDiA Report]What is a stream worth in 2025? The value of a music stream is shifting as passive listening becomes the norm and streaming revenue plateaus. Check out MIDiA's recent report on why artists must look beyond stream counts and focus on building genuine fan connections.
The post What is a Stream Worth in 2025? [MIDiA Report] appeared first on Hypebot.

Walrus Audio introduce the Xero Polylooper Boasting dual-channel looping functionality with independent loop control for each channel, the Xero Polylooper includes a trio of operation modes that allow it to tackle everything from practising licks to building up evolving soundscapes during a live performance.