Sound Editing vs. Sound Mixing: A Director's Guide to Understanding the Difference
"We need to fix the sound in post." It's one of the most common phrases in filmmaking, but what does it actually mean? When directors talk about "fixing sound," are they referring to sound editing, sound mixing, or both?
Understanding the difference between sound editing and sound mixing is crucial for any filmmaker who wants to communicate effectively with their audio team and make informed decisions about their project's sound. These aren't interchangeable terms, they represent distinct phases of the post-production process, each with its own goals, techniques, and creative possibilities.
After years of working on major Hollywood productions, we've seen countless directors struggle to articulate what they need from their sound team simply because they don't understand where sound editing ends and sound mixing begins. This guide will clear up the confusion and help you become a more effective collaborator in your film's audio post-production.
The Quick Answer
Sound Editing is the preparation phase where individual audio elements are selected, cleaned, synchronized, and arranged. Think of it as gathering and organizing all the ingredients for a complex recipe.
Sound Mixing is the combination phase where all those prepared audio elements are balanced, blended, and sculpted into the final soundtrack. This is like cooking the recipe, adjusting seasonings, and plating the final dish.
Both are essential, sequential processes that require different skills, tools, and creative approaches. You can't have professional sound mixing without thorough sound editing, and the best sound editing in the world won't create a great soundtrack without skilled mixing.
What is Sound Editing?
Sound editing is the foundational work of post-production audio. It involves selecting, preparing, and organizing all the individual sound elements that will eventually become your film's complete soundtrack.
Core Sound Editing Tasks
Dialogue Editing Sound editors take all the production dialogue recordings and craft them into clean, consistent tracks. This involves:
Removing unwanted noise, mouth sounds, and technical artifacts
Matching audio levels between different takes and camera angles
Eliminating gaps and creating smooth dialogue flow
Syncing dialogue to picture when synchronization issues exist
Preparing tracks for potential ADR (Automated Dialogue Replacement)
Sound Effects Editing This involves building the complete sound effects landscape for your film:
Selecting appropriate effects from libraries or creating custom sounds
Synchronizing effects precisely to picture events
Layering multiple effects to create complex soundscapes
Creating smooth transitions between different acoustic environments
Building ambient tracks that support each scene's location and mood
Music Editing When your film includes music, sound editors prepare it for integration:
Cutting music to fit specific scene timing
Creating smooth musical transitions between cues
Balancing music edits to support dramatic pacing
Preparing stems (separate instrumental tracks) for mixing flexibility
Coordinating with composers on any musical timing adjustments
Foley Editing After foley artists record synchronized sound effects, editors refine and integrate this material:
Selecting the best takes from foley recording sessions
Fine-tuning synchronization for perfect picture match
Layering different foley elements to create realistic sound textures
Balancing foley levels for consistency across scenes
The Sound Editor's Mindset
Sound editors work with surgical precision on individual elements. They're focused on making each component, every dialogue line, every footstep, every door slam, sound as good as possible in isolation. They think about:
Clarity: Is each sound clean and artifact-free?
Consistency: Do similar sounds match across different scenes?
Synchronization: Does every sound hit precisely on its visual cue?
Preparation: Are all elements organized and ready for the mixing phase?
When Sound Editing Happens
Sound editing typically begins after picture lock (when your visual edit is completely finished) and continues for several weeks depending on your film's complexity. Editors work systematically through your film, scene by scene, building comprehensive audio tracks that contain all necessary elements.
Typical Editorial Time for Feature Films (most editorial runs concurrently):
1-4 Weeks : Dialogue editing and ADR preparation
2-6 Weeks+ : Sound effects editing and library sourcing
4-6 Weeks : Music editing and foley integration
2-6 Weeks +: After editorial the final mix and delivery begins
What is Sound Mixing?
Sound mixing is the creative and technical process of combining all the edited audio elements into a cohesive, emotionally impactful final soundtrack. If sound editing is about preparing individual ingredients, mixing is about creating the final dish.
Core Sound Mixing Tasks
Balance and Blend Mixers take all the separately edited tracks and create proper relationships between them:
Establishing dialogue as the priority element while maintaining clarity
Balancing sound effects to support but not overwhelm the story
Integrating music so it enhances emotion without competing with dialogue
Creating smooth transitions between different acoustic environments
Spatial Design Professional mixing involves careful placement of sounds in the stereo or surround field:
Positioning dialogue clearly in the center channel
Using left/right placement to support visual geography
Creating immersive surround environments for background ambiances
Moving sounds through the acoustic space to support camera movement
Dynamic Range Control Mixers shape the overall loudness and dynamic characteristics of your soundtrack:
Ensuring dialogue remains audible during loud action sequences
Creating appropriate contrast between quiet intimate moments and spectacular scenes
Managing overall loudness levels for different distribution requirements
Controlling dynamic range for various playback environments
Creative Enhancement Beyond technical balance, mixing involves artistic choices that enhance storytelling:
Using EQ (equalization) to create mood and atmosphere
Applying reverb and delay to establish acoustic spaces
Creating focus by emphasizing story-critical sounds
Supporting emotional beats through subtle audio manipulation
The Sound Mixer's Mindset
Sound mixers think about the complete audio experience. While editors focus on individual elements, mixers consider:
Emotional Impact: How does the overall soundtrack serve the story's emotional journey?
Audience Experience: How will this sound in different playback environments?
Narrative Focus: What should audiences pay attention to in each moment?
Technical Standards: Does this meet all delivery requirements for distribution?
When Sound Mixing Happens
Sound mixing begins after sound editing is substantially complete. Mixers need all the prepared audio elements before they can start balancing and blending them effectively.
Mixing Process Timeline:
Pre-Mix: Individual sound stems (dialogue, effects, music) are internally balanced
Final Mix: All elements are combined and balanced against each other
Playback Sessions: Director/Producer reviews and provides feedback
Revision Rounds: Adjustments based on creative feedback
Final Delivery: Creation of all required formats and technical specifications
The Sequential Relationship
Understanding that sound editing and mixing happen sequentially is crucial for directors planning their post-production timeline and budget.
Why Order Matters
Editing Must Come First You cannot effectively mix audio that hasn't been properly edited. Mixing relies on:
Clean, artifact-free source material from the editing phase
Properly synchronized elements that editors have prepared
Organized track layouts that editors have created
Consistent audio quality that editors have established
Mixing Requires Complete Elements Mixers need all audio elements to make proper balance decisions:
Incomplete dialogue editing affects how effects can be mixed
Missing sound effects change the overall balance requirements
Unfinished music editing prevents proper emotional integration
Overlap and Iteration
While editing generally precedes mixing, professional post-production involves some overlap:
Temp Mixes: Early rough mixes help editors hear their work in context
Iterative Process: Mixers may request editing changes based on balance needs
Director Feedback: Creative input may require returning to editing phase
Technical Requirements: Delivery specifications might necessitate editing adjustments
Key Personnel: Who Does What
Understanding the roles and responsibilities helps directors communicate more effectively with their sound team.
Sound Editors
Dialogue Editors Specialists who focus exclusively on dialogue tracks:
Expert in speech clarity and intelligibility
Skilled in noise reduction and audio restoration
Experienced in ADR coordination and implementation
Focused on maintaining consistent dialogue quality throughout the film
Sound Effects Editors Professionals who build the effects landscape:
Creative professionals who select and create effects
Technical experts in synchronization and timing
Library specialists who know how to find perfect sounds
Collaborative partners who interpret director's creative vision
Music Editors Specialists in integrating musical elements:
Collaborate closely with composers and music supervisors
Expert in musical timing and dramatic pacing
Skilled in creating smooth musical transitions
Experienced in preparing music for final mix integration
Sound Mixers
Re-Recording Mixers (Final Mix) The professionals who create your film's final soundtrack:
Artistic collaborators who interpret your creative vision
Multiple mixers may focus on separate stems during pre-mix phase (Dialogue & Music | Sound FX)
Technical experts in professional mixing equipment and techniques
Experienced in balancing complex audio elements
Skilled in creating soundtracks that work across different playback systems
Sound Supervisors
Overall Project Coordination The person who oversees both editing and mixing:
Maintains creative vision consistency throughout post-production
Coordinates between different editing and mixing specialists
Serves as primary communication point with directors
Manages timeline and workflow between editing and mixing phases
Budget Implications: Understanding Cost Allocation
Sound editing and mixing require different investments, and understanding this helps with budget planning.
Sound Editing Costs
Labor-Intensive Process Sound editing is typically more time-consuming than mixing:
Requires detailed work on individual audio elements
Involves extensive library searching and sound creation
Demands precise synchronization and timing work
Often requires multiple specialists for different audio elements
Typical Budget Allocation for Editing:
Dialogue Editing: 35-40% of total sound budget
Effects Editing: 25-30% of total sound budget
Music Editing: 10-15% of total sound budget
Coordination and Supervision: 10-15% of total sound budget
Sound Mixing Costs
Equipment and Expertise Investment Sound mixing requires professional facilities and highly skilled operators:
Access to professional mixing stages with calibrated monitoring
Expensive professional mixing equipment and software
Highly experienced mixers who command premium rates
Technical expertise in delivery formats and distribution standards
Typical Budget Allocation for Mixing:
Pre-Mix Phase: 20-25% of total sound budget
Final Mix Phase: 25-30% of total sound budget
Technical Delivery: 5-10% of total sound budget
Revision Rounds: 10-15% of total sound budget
Cost-Saving Strategies
Efficient Planning Understanding the editing/mixing relationship helps optimize costs:
Complete Editing First: Avoid expensive mixing revisions by finishing editing thoroughly
Clear Director Vision: Minimize revision rounds through clear initial communication
Realistic Timeline: Rush fees significantly increase both editing and mixing costs
Organized Materials: Proper project organization reduces labor hours
Common Misconceptions Directors Have
Understanding these misconceptions helps directors communicate more effectively and set realistic expectations.
"We'll Fix It in the Mix"
The Reality: Mixing cannot fix fundamental audio problems. If dialogue is poorly recorded, effects are badly synchronized, or elements are missing entirely, mixing alone cannot resolve these issues.
What Actually Happens: Professional mixing can enhance good source material, but it cannot create quality from poor materials. Fixing fundamental problems requires returning to the editing phase.
Director Takeaway: Invest adequately in sound editing to provide mixers with the best possible source material.
"Mixing is Just Making Things Louder or Quieter"
The Reality: Professional mixing involves complex creative and technical decisions about frequency balance, spatial placement, dynamic range, and artistic enhancement.
What Actually Happens: Mixers make hundreds of creative decisions that shape your film's emotional impact, narrative clarity, and technical quality.
Director Takeaway: Mixing is a creative collaboration that requires your input on artistic vision and story goals.
"We Can Skip Sound Editing and Go Straight to Mixing"
The Reality: Attempting to mix unedited audio is like trying to cook with unprepared ingredients. The results will be compromised and the process will be inefficient and expensive.
What Actually Happens: Mixers end up doing editing work at mixing rates, which is both expensive and creatively limiting.
Director Takeaway: Proper sound editing is an essential foundation for successful mixing.
"Sound Editing and Mixing are Interchangeable"
The Reality: These require different skills, equipment, and creative approaches. Most professionals specialize in one area or the other, though there are professionals that thrive doing both. Be sure you know who they are.
What Actually Happens: Asking an editor to do mixing work (or vice versa) often results in suboptimal results and frustrated team members.
Director Takeaway: Respect the specialization and hire professionals for their areas of expertise.
How to Communicate Effectively with Your Sound Team
Understanding editing vs. mixing helps directors provide more effective creative direction.
During Sound Editing Phase
Focus on Individual Elements:
"The dialogue in scene 12 has too much background noise"
"We need a more aggressive car engine sound for the chase sequence"
"The music cut feels too abrupt at the end of the love scene"
"The footsteps don't feel synchronized in the hallway scene"
Avoid Mixing-Related Direction:
Don't worry about overall balance during editing
Don't make final judgments about how elements work together
Focus on individual quality rather than relationship between elements
During Sound Mixing Phase
Focus on Overall Experience:
"The dialogue gets lost during the action sequence"
"The music feels too overwhelming in the emotional scenes"
"The overall soundtrack feels too quiet/loud"
"The surround effects don't feel immersive enough"
Provide Emotional and Story Context:
"This scene should feel claustrophobic"
"The audience should feel the character's isolation here"
"We want maximum impact for this reveal moment"
"The transition between scenes should feel seamless"
Technology and Tools: What Professionals Use
Understanding the tools helps directors appreciate the technical complexity of both processes.
Sound Editing Tools
Digital Audio Workstations (DAWs) Professional editors use specialized software:
Pro Tools: Industry standard for professional post-production
Others: There are lots of other DAWs but they are out of scope for filmmaking.
Editing-Specific Software Features:
Precise synchronization tools for matching audio to picture
Advanced noise reduction and audio restoration capabilities
Comprehensive library management for organizing sound effects
Collaboration tools for team-based editing workflows
Sound Mixing Tools
Professional Mixing Consoles Hardware control surfaces designed for mixing:
Avid S6: The flagship mixing surface for professional mixers
Avid S4: All the power of the S6 but not upgradable
Avid S3: A mid-sized professional mixing surface for small spaces
Avid S1: The smallest Avid mixing surface, perfect for home studios.
Avid Dock: The master section for S1 and S3s.
Mixing-Specific Software Features:
Advanced EQ and dynamics processing
Surround sound panning and positioning
Real-time processing for immediate creative feedback
Automated mixing capabilities for consistent results
Professional Monitoring Calibrated speaker systems for accurate mix assessment:
Near-field Monitors: For detailed mixing work
Main Monitors: For full-range mix assessment
Surround Systems: For spatial audio mixing
Multiple Playback Systems: Testing compatibility across different speakers
The Creative Collaboration
Understanding editing vs. mixing helps directors participate more effectively in the creative process.
Working with Sound Editors
Provide Creative Vision: Share your artistic goals for individual scenes and audio elements. Editors need to understand what each sound should contribute to the story.
Be Specific About Problems: When you hear issues, be as specific as possible about what bothers you and why.
Allow Time for Iteration: Sound editing is detailed work that benefits from multiple review rounds and refinements.
Trust Professional Expertise: Editors have technical knowledge about what will work in the mixing phase.
Working with Sound Mixers
Focus on Big Picture: Mixers need to understand your overall vision for the film's audio experience.
Communicate Emotional Goals: Describe how you want audiences to feel rather than specific technical adjustments.
Be Prepared for Trade-offs: Mixing involves balancing competing elements, and sometimes compromises are necessary.
Plan Adequate Review Time: Schedule sufficient time for listening sessions and revision rounds.
Quality Control: What to Listen For
Directors should know how to evaluate both editing and mixing quality.
Evaluating Sound Editing
Technical Quality:
Are individual sounds clean and artifact-free?
Is synchronization precise and consistent?
Are audio levels balanced within each type of element?
Do transitions between takes feel smooth and natural?
Creative Effectiveness:
Do the selected sounds support your creative vision?
Are effects convincing and appropriate for each scene?
Does dialogue feel natural and conversational?
Do music edits support dramatic pacing?
Evaluating Sound Mixing
Technical Balance:
Is dialogue always clear and intelligible?
Do sound effects support without overwhelming?
Does music enhance emotion without competing with dialogue?
Does the overall balance work across different playback systems?
Creative Impact:
Does the soundtrack enhance your story's emotional journey?
Do quiet moments feel appropriately intimate?
Do dramatic moments have appropriate impact?
Does the overall audio experience match your artistic vision?
Planning Your Post-Production Audio Timeline
Understanding both processes helps create realistic schedules.
Typical Timeline for Feature Film
Pre-Production Planning (2-4 weeks before sound starts):
Sound supervisor hired and briefed on creative vision
Technical requirements established (delivery formats, etc.)
Team assembled (editors, mixers, coordinators)
Workflow and communication protocols established
Sound Editing Phase (4-8 weeks):
Week 1: Project setup and dialogue editing begins
Weeks 1-6+: Sound effects editing and library sourcing
Weeks 1-5: Music editing
Weeks 2-6: Foley recording and editorial
Weeks 6-7: Final editing refinements and mix preparation
Week 8: Editing review and approval for mixing phase
Sound Mixing Phase (2-4 weeks):
Week 1: Pre-mix of individual stems (dialogue, effects, music)
Week 2: Initial final mix and first director review
Week 3: Revision rounds based on creative feedback
Week 4: Final mix approval and technical delivery preparation
Technical Delivery (1 week):
Creation of all required delivery formats
Quality control and technical verification
Final archival and project closeout
Factors That Affect Timeline
Accelerate Timeline:
Clear, organized source materials
Prompt director feedback and approvals
Simple technical delivery requirements
Experienced team with established workflow
Extend Timeline:
Complex sound design requirements
Multiple revision rounds
Technical delivery complications
Coordination with composer or music supervisor
Cost-Effective Approaches for Different Budget Levels
Understanding editing vs. mixing helps optimize budget allocation.
High-Budget Productions
Full Professional Pipeline:
Separate specialized editors for dialogue, effects, and music editing
Multiple rounds of ADR and Loop Group
Dedicated foley team with exquisitely detailed recordings
Professional mixing stage with experienced re-recording mixer(s)
Multiple revision rounds and extensive creative collaboration
Full technical delivery for all distribution formats including Dolby ATMOS
Mid-Budget Productions
Streamlined Professional Approach:
Fewer specialists covering multiple editing areas
Fewer rounds of ADR and Loop Group
Dedicated foley team to cover all sounds for actor movements
Professional mixing but possibly in smaller facility
Planned revision rounds with clear approval processes
Essential technical deliverables up to Dolby ATMOS if required for delivery
Lower-Budget Productions
Efficient Professional Services:
Single sound editor handling most editing tasks
ADR where absolutely necessary
Mixing in professional facility but with streamlined process
Limited revision rounds requiring focused director feedback
Basic technical delivery in stereo and surround with potential for additional formats if needed
Micro-Budget Productions
Strategic Professional Investment:
Focus budget on dialogue editing and final mix quality
Use library sounds rather than custom effects creation
Foley sounds are usually added by sound FX editor rather than acted by foley team
Minimal revision rounds requiring clear initial direction
Standard stereo and surround delivery
🚩Red Flags: When Something's Not Right
Directors should recognize signs of problems in both editing and mixing.
Sound Editing Red Flags
Technical Problems:
Dialogue that cuts in and out abruptly
Pops and ticking sounds heard clearly
Sound effects that feel obviously artificial or library-generic
Inconsistent audio quality between different takes
Synchronization issues where sounds don't match picture
Creative Problems:
Sound choices that don't match your creative vision
Effects that feel inappropriate for your film's genre or tone
Dialogue edits that disrupt natural conversation flow
Missing sound elements for important story moments
Sound Mixing Red Flags
Technical Problems:
Dialogue that gets lost during music or effects
Overall soundtrack that feels too quiet or too loud
Balance that works on some playback systems but not others
Technical specifications that don't match delivery requirements
Creative Problems:
Overall sound that doesn't support your story's emotional journey
Balance that emphasizes wrong elements for story focus
Mixing style that doesn't match your film's genre
Final soundtrack that feels flat or unengaging
The Future of Sound Editing and Mixing
Technology continues to evolve both processes while maintaining their fundamental distinction.
Emerging Technologies
AI-Assisted Editing: Artificial intelligence is beginning to help with routine editing tasks:
Automated dialogue cleanup and noise reduction
Intelligent sound effect suggestion and synchronization
Streamlined workflow for common editing operations
Immersive Audio Mixing: New mixing technologies create more sophisticated spatial audio:
Dolby Atmos and object-based mixing for theatrical and streaming
Binaural audio for headphone-optimized experiences
VR and AR audio requiring specialized mixing approaches
Cloud-Based Collaboration: Remote collaboration tools are changing workflow:
Directors can review and comment on work from anywhere
Real-time collaboration between editors and mixers
Streamlined approval processes for faster project completion
Unchanging Fundamentals
Despite technological advances, core principles remain:
Sound editing still requires creative selection and precise synchronization
Sound mixing still demands artistic vision and technical expertise
Both processes still require skilled human judgment and creativity
The sequential relationship between editing and mixing continues
Conclusion: Better Understanding for Better Results
Understanding the difference between sound editing and sound mixing makes you a more effective filmmaker and a better collaborator with your sound team. When you know what each process involves, when it happens, and what it can and cannot accomplish, you can:
Communicate more effectively with sound professionals
Set realistic expectations for timeline and budget
Provide better creative direction at each phase
Make informed decisions about where to invest your audio budget
Avoid common misconceptions that lead to project problems
Remember that both sound editing and sound mixing are essential for professional results. You cannot have great mixing without thorough editing, and the best editing in the world needs skilled mixing to reach its full potential.
The most important thing is to view both processes as creative collaborations. Your sound team brings technical expertise and artistic skill, but they need your vision, feedback, and creative direction to create the perfect soundtrack for your story.
When directors understand and respect both the editing and mixing processes, the result is always better, more efficient workflows, fewer misunderstandings, and ultimately, soundtracks that truly serve the story and connect powerfully with audiences.
Ready to work with professionals who excel at both sound editing and mixing? Our experienced team handles every aspect of post-production audio with the precision and creativity your film deserves. Contact us to discuss your project and learn how proper sound editing and expert mixing can elevate your story.