Abstract
Automatic mixing transforms multitrack recordings into perceptually coherent, balanced, and aesthetically consistent mixes. In real-world production, this task is challenging due to large track counts, diverse instrumentation, and strong inter-track dependencies. Two-stage systems address this complexity by separating intra-group processing from inter-group mixing, yet it remains unclear whether their gains arise from stronger component models or from explicit task decomposition. We present a subtask-oriented analysis of automatic mixing through three controlled listening experiments. We investigate whether full-mix models transfer to intra-group mixing, whether downstream models compensate for grouping and loudness errors, and whether two-stage decomposition improves full-mix quality. Across three dense pop and rock excerpts, transfer differs between the evaluated models; inappropriate grouping causes clear downstream degradation, while altered loudness relationships have weaker and model-dependent effects. Both two-stage variants significantly outperform their corresponding single-stage baselines. These findings support explicit separation of local balance and global mix coordination as a useful design principle for automatic mixing. Code and audio examples are available online.
Abstract (translated)
URL
https://arxiv.org/abs/2609.02835
