The stereo image of a track can easily fool your ears.
On headphones, mixing in mono is key though! I always say: “Mono is the truth.” So how they sound on your headphones is how your track should sound on headphones as well. Those tracks are the law, your maps, your guidelines to a great sound.
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One main thing I do on my headphones in order not to lose track of excessive frequencies is to constantly A/B test my production with professional tracks that I know sound good everywhere. On your laptop speakers, in your car, on your phone. Afterwards it's good to check on any system you can. This gets eliminated by using headphones. My whole mix will sound different all of a sudden! I can't deal with that anymore. To me, having a sweet spot in a room means that if I move my head, the sound will change. You know what? Over almost two decades of producing music, I've developed such sensitive ears that I can't deal with the “sweet spot” in a studio environment. Even in the studio! So yes, I'm very much a headphones type of producer. I produce everything on my SOL Republic Calvin Harris XC headphones. Do you have any advice for those who don't have access to big stacks on a regular basis? Cheaper monitors with ported bass cavities can confuse your perception of the low end, so perhaps a good pair of headphones are more appropriate. You’ve mentioned the importance of testing out your sub levels on club systems. Group them in one channel, put a little bit of compression in there as glue, and they'll operate as one unit. This way, the two would fit together like the pieces of a puzzle. And in my thin lead, I'd make sure there were no 300 Hz sounds. If it were only those two sounds, I'd EQ out some 3 kHz in the 300-Hz-type sound.
It can be as simple as saying, “Oh, my lead sounds a bit thin right now,” and then looking for an additional sound that has a lot going on in the 300-Hz range.
The key to proper layering is to find the gaps in the frequencies and then fill them up with sounds that specifically stand out in those frequencies. Are you spending much time working the EQs and envelopes to get these elements to sit together? Do you have any go-to methods for achieving balanced layering? There is a whole lot of layering in this track.
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