AES Journal Forum

Human—Made Rock Mixes Feature Tight Relations Between Spectrum and Loudness

Document Thumbnail

Sophisticated production and mixing techniques in the rock music genre were developed in the second half of the 20th century, but there is no unified theory of mixing tracks. This paper explores the relationship between loudness and spectrum of individual tracks using an ad hoc 3-dimensional representation of spectra as applied to 55 rock multitracks. Given good monitoring conditions, i.e. at higher monitoring levels and on full-range monitors, comparatively brighter tracks are mixed softer, and comparatively darker tracks are mixed louder. Track loudness appears to be a linear function of its spectral centroid, and audio engineers appear to be concerned with the perceived spectral balance. On the other hand, given difficult monitoring conditions, i.e. at lower monitoring levels and on budget monitors, track spectrum and loudness are set conjointly so that each track is optimally understandable.

JAES Volume 62 Issue 10 pp. 643-653; October 2014
Publication Date:

Click to purchase paper as a non-member or you can login as an AES member to see more options.

No AES members have commented on this paper yet.

Subscribe to this discussion

RSS Feed To be notified of new comments on this paper you can subscribe to this RSS feed. Forum users should login to see additional options.

Start a discussion!

If you would like to start a discussion about this paper and are an AES member then you can login here:

If you are not yet an AES member and have something important to say about this paper then we urge you to join the AES today and make your voice heard. You can join online today by clicking here.

AES - Audio Engineering Society