How You Should Mix Your Beats For Your Beat Store

What’s going on music producers, It’s Curtiss King of airbit.com, here today to answer a question. How should you be mixing your beats when you make them available for your beats store? Let’s talk about.

Music producers, you have just finished your latest banger, you are ready for that thing to get out there into the public, you can’t wait for rappers to hear it but,  hold your brakes, have you ever stop for a second and asked yourself, how should I be mixing these beats for somebody who’s going to have to rap over them? How should I actually present this? Should I be leaving something that they call head room? You know for those of you that understand that. Headroom is literally you know the space that you leave between the zero decibel meter, right and whatever space you leave below that, not above because above it is distortion it goes all red. But below that, levelling line of zero that’s the amount of volume that you turn your beat down basically or turn the sounds down and they’re all reaching a certain threshold so if it’s negative three decibels, then this is the line, then it’s hitting like right here, if it’s negative six then it’s probably hitting right here.

So, typically what I’ve seen and what I actually do, I like to leave about negative three to about negative five, six decibels of head space depending on the style of beat. I like to leave that because here’s the thing, when rappers go to listen to your beats on your websites and this is why it’s such a difficult question sometimes for people to answer is because when people go to your website they’re hearing the potential of what that song could be, they’re hearing the potential of what that beat can be. So, if they’re listening to the potential of it, they want to get a little bit of a balance of this beat bangs, but at the same time I can see where me, the instrument, the rapper, where I need to add my particular instrument to this beat.

So, here’s the thing about it. I think this is more so a question about head room, which you definitely want to leave some, you want to leave at least three decibels of head room as your final you know mix that you put out there so that when somebody cranks that up they can say OK I can add vocals to it and crank it up beyond that, because everybody doesn’t have an engineer you know, if everybody had a great engineer, we don’t have to worry about that, somebody would figure out how to tailor it around the way that you like to mix your beats without head room, that’s fine. But in this case, you know a lot of people don’t.

So, here’s a thing about it. Have you ever had someone buy a beat of yours and say you cranked it up and it’s like you know, up to the zero or even beyond the zero which I hope not, it’s just cranked up beyond the decibel and then somebody is rapping over it and it sounds like they basically just pushed all the life out of your beat. So, they can fit their vocals on top of it. Why? Because your beat was too loud and I’m telling you from experience because I’ve been in that boat were my beats for way too loud because you know, what I really understood was that. I was auditioning my beats, I was auditioning my beats to other producers, I don’t know why. I was auditioning my beats to rappers because I wanted them to see the potential of the larger than life essence of it and it did equal to some success but here’s the thing about it, at some point they’re going to want to sound amazing over it. So, I think that as much as it may have brought me customers who were like yo, this beat is bangin, the moment they got to recording it, a lot of them wouldn’t return because it’s like yeah but I’ve learned a lot about mixing and I kind of don’t want to have to readjust to your distorted beats, your beats are dope and all that but maybe I need to either get the track out or usually to turn stuff down.

So, here’s the thing about it, stop trying to steal the show by auditioning your beat for you know a big showcase, it’s not what this is for, this is for the marketplace, this is also too, to the point where you know, nobody wants to have a project. Think about the rapper, nobody wants to have a project where, you know they have ten songs and all of them are kind of hitting a certain threshold, a certain vibe and then here comes your beat just blaring all over the place, kicks are all distorted, snares is like right up here in the center of your forehead, they mix so terribly, nobody wants that beat, you don’t want that beat to stand out. You’ll end up always being someone’s either intro or outro because you kind of get a little more leeway when you’re trying to set the tone or in the project on a certain note but for the sake of mixing I think that it’s important for you to leave some headroom you know maybe you may even do something to where you know your tag version is the one that has you know sort of the sounds boosted it right? You got that limiter pushing up to zero and no headroom and maybe your actual MP3 that you make for sale, your WAV and your track outs, maybe those are the ones that you leave the headroom for, maybe that’s the compromise you may need to make in the very beginning, but I think eventually as you learn more about mixing you’ll understand the need to actually leave headroom and leave some space for these rappers to rap on it and then turn everything up gradually with it so that the music sounds like everything goes together and somebody didn’t just rip your beat off the internet and decide they want to this rap on their home studio equipment with.

You know leave the head room make sure that you’re thinking about your customers as you’re mixing your beats and if you can’t compromise, make the compromise between you know having a beat that’s previewed, the tag beat that’s actually pumped up and they making sure that the MP3 WAV and track outs all give some opportunity for them to jack up whatever sounds they want to jack up the entire production with the vocals instead of them jacking down the production and having to jack the vocals up. Let’s make sure these things work in perfect harmony.

Do you have any suggestions for producers figuring out how they should mix their beats for the beats store? What has work for you? We encourage engagement. Please go down below and leave a comment.

Once again this is Curtiss King of airbit.com. Have a good one.

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Comments (1)

Thank you so much for that!

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