There are plenty of articles telling you which reference mixes to use, as different genres demand different approaches to mixing. Indeed, iZotope places hefty importance on referencing—an entire referencing section is built into Ozone. But how should you reference? When should you reference? What should you listen for while referencing? And how do you select the best references for your particular track, regardless of genre?
We’ll answer all of these questions and more in the following 13 tips. Six are basic and practical, seven are musical and philosophical, all of them are important. Let’s have at it!
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1. Use your rough mix as a reference
As mix engineer Ike Schultz made clear in our interview with him, always utilize the rough mix as a reference. This is true even if you’re working on mixing your own production—either the rough is a starting point you need to beat or a yardstick to measure how far you’ve come.
In either case, you need the rough mix to make sure that the rough mix doesn’t make things worse. Nothing is more disheartening than A/B-ing your mix with the rough mix after hours of work, only to find you’ve killed the vibe—missing the forest of emotionality for the technical trees.
If you’re working with your own production, you may blur the line between mixing and production while you work. This is understandable. An automation of EQ or a deployment of sidechain compression could be considered both a production decision and a mixing move.
Still, try to draw a firm boundary somewhere between the end of production and the beginning of the mix. “Save as” the session, label it as the mix, and bounce the current state of the mix as a WAV file. Drop it into Ozone 8’s referencing section and let it live amongst your other references.
2. Use your client’s reference
Anytime I mix or master a project, I always ask for a reference from the client. Later on, we’ll see how your own favorites will come in handy, but these mixes should always be informed by the reference your client provides.
Why? Because the client also knows what they want to hear—they have an idea of where the project is going. The client reference gives you a peek into their predilections and goals for your final result. It is your first genre-specific guide as well.
Try to get a WAV file of your client’s preference—it’s always better than the lossy version—and drop it into Ozone 8’s reference section next to the rough.
3. Use your favorite mixes as references
My first batch of personal references is compiled from the music of my childhood. There’s some Soundgarden in there, some Nine Inch Nails, Mos Def, Radiohead, Alan Parsons Project, Tool, D’Angelo, Talking Heads, Porcupine Tree, Alanis, Jeff Buckley, Hawksley Workman, and many others.
Your list will be different—I grew up in the nineties, which is obvious if you read the previous paragraph. Whatever you choose, these reference mixes must move you the most. You must admire their music and their sonics, and this is as much for inspiration as it is for matching. The client reference and rough mix will appeal to the technical needs—you won’t be close enough to those mixes to fall into emotional traps.
But you still need the emotional traps. You must capture the feeling of mixes that inspired you all throughout your life, that’s why you should reference your favorite songs. These help you achieve the je ne sais quois that the client reference and rough won’t inspire.
4. Use references in the same sonic sphere
When selecting from your most prized personal references, pick one or two that work best for the song or project. Select these mixes using a couple of different criteria.
You could go for a reference that matches the genre of your current project. For instance, if you’re working on a gloomy pop mix with heavy synthetic elements, you can choose something in your stable that matches the tempo, the sonic landscape, and the overall sound you wish to achieve.
Alternatively, you can focus on the element that needs the most work and choose the best reference to match it. A while ago, I had an Americana mix with drums recorded in less-than-ideal environment. I wanted them to sound so much more expensive than they did in the audio I received. So, I selected “Everybody Here Wants You” by Jeff Buckley, a tune with some of the most cleanly recorded, crisp drums I’ve ever heard. Now I had something to work towards, even though the songs were completely different (a waltz versus a slow jam, distorted guitars versus clean electrics and strings).
Take two references from your personal collection, filtered for genre or sonic ideal, and place them in your Ozone 8 referencing section. Now you should have the rough, the client refs, and two personal mixes in your referencing stable. That should be enough.
5. Level match the reference to the mix
If you follow gain staging tips laid out in other articles, you’ll usually find yourself working towards a consistent level target every time. Say you mix at -20 LU, or you prefer to go a little hotter, maybe around -17 LU. After setting up your static mix to hit the desired target, bring your reference mixes down to this same level.
Why? Let’s not beat a horse to death––we know there’s a difference between louder and better. We want to mitigate this difference wherever possible, and level-matching ensures the difference doesn’t happen.
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