How to Give Feedback on Music: A Producer's Guide

“Can you make it sound more… you know… punchy?”

“I don’t know, something feels off around the middle.”

“It needs more energy.”

If you’ve ever been on the receiving end of vague music feedback, you know the frustration. You’re left guessing what “punchy” means (more compression? louder kick? shorter reverb?), where “the middle” is (middle of the track? midrange frequencies?), and what “energy” translates to in actual production decisions.

Vague feedback wastes time. Worse, it leads to revisions that miss the mark, frustrated clients, and mixes that never quite land.

Good feedback tells you exactly what to fix, where it is, and what the problem sounds like. It turns revisions from a guessing game into actual progress.

Here’s how to do it.

Why Most Music Feedback Fails

Before we talk about good feedback, let’s diagnose why most feedback doesn’t work:

Problem 1: Too Vague

Vague feedback:

• “Make it sound better”
• “Something’s off”
• “I don’t like it”
• “Needs more punch”

Why it fails: The producer doesn’t know what to change. “Better” is subjective. “Something’s off” could be anything. “Punch” might mean compression, EQ, volume, or transient shaping.

Problem 2: No Specificity

Non-specific feedback:

• “The vocals are weird”
• “The drums are too loud”
• “I don’t like the bass”

Why it fails: Which part of the vocals? Too loud compared to what? What about the bass—tone, rhythm, level?

Problem 3: No Timestamp

Untimed feedback:

• “The guitar solo is too quiet”
• “There’s a weird sound in the background”
• “The transition is abrupt”

Why it fails: If there are three guitar solos, which one? What timestamp is the “weird sound”? Which transition?

Problem 4: Emotional Instead of Technical

Emotional feedback:

• “I hate it”
• “This is terrible”
• “Why did you do that?”

Why it fails: Doesn’t explain why it’s not working. Producers need actionable information, not just emotional reactions.

Problem 5: Mixing Taste and Technical Issues

Confused feedback:

• “The bass is too loud” (might mean: the bass is overpowering, or you just prefer less bass)

Why it fails: Is this a mixing problem (objective) or a creative preference (subjective)? The producer needs to know which one you’re addressing.

The Framework: Specific, Timestamped, Actionable

Useful feedback has three parts:

1. Specific

Identify exactly what element you’re talking about (vocals, kick drum, reverb, etc.).

2. Timestamped

Reference the exact moment in the track (e.g., “at 1:32” or “in the second chorus”).

3. Actionable

Explain what you want changed (louder, less reverb, different tone, etc.) or describe the problem clearly so the producer can propose a solution.

Bad feedback: “The vocals are too quiet.”

Good feedback: “At 2:15 during the bridge, the lead vocal gets buried under the guitars. Can you bring the vocal up +2-3dB or duck the guitars slightly?”

Notice the difference:

• ✅ Specific: Lead vocal
• ✅ Timestamped: 2:15, bridge section
• ✅ Actionable: Bring vocal up or reduce guitars

Now the producer knows what to fix.

The 3-Part Feedback Structure

Here’s a simple framework for delivering feedback that works:

Part 1: What You Like (Start Positive)

Point out what’s working. This tells the producer what not to change and keeps the conversation productive instead of demoralizing.

Example: “The drum sound is perfect—love the punch on the kick and the brightness of the hi-hats.”

Part 2: What Needs Work (Be Specific)

This is where you address issues. Use the Specific + Timestamped + Actionable formula.

Example: “At 3:20 in the final chorus, the vocal harmony is slightly out of tune. Can you tighten the pitch correction or re-record that take?”

Part 3: Suggestions (Optional)

If you have ideas for creative changes, offer them as suggestions, not demands. Respect the producer’s expertise.

Example: “I’m wondering if adding a subtle riser before the drop at 1:45 would increase the tension. What do you think?”

Feedback Templates for Different Music Genres

Different genres have different priorities. Here’s how to tailor your feedback by genre:

EDM / Electronic Music

Focus areas:

• Sound design (synth tones, textures)
• Energy and build-ups (tension before drops)
• Drop impact (is the drop satisfying?)
• Mixdown clarity (can you hear every element?)
• Sub-bass presence (does it translate on different systems?)

Good feedback examples:

• “At 1:45, the build-up feels flat. Can you add a riser or increase the filter sweep intensity?”
• “The drop at 2:00 lacks impact—can you layer another synth or boost the kick?”
• “The sub-bass at 0:30 isn’t translating on laptop speakers. Can you add a mid-bass layer around 200Hz?”

Template: “[Timestamp] — [Element] feels [problem]. Can you [specific solution or question]?”

Hip-Hop / Rap

Focus areas:

• Vocal clarity (lyrics must be intelligible)
• Flow and timing (vocal sits on beat correctly)
• Beat selection and loop variation (does the beat get repetitive?)
• Low-end balance (808s vs. kick vs. bass)
• Ad-libs and vocal layers (support main vocal without clutter)

Good feedback examples:

• “At 0:45, the main vocal gets buried under the hi-hats. Can you duck the hats or boost the vocal?”
• “The 808 at 1:20 is too loud and overpowering the kick. Can you reduce it by 2-3dB or sidechain it?”
• “At 2:10, the ad-lib ‘yeah’ is louder than the main vocal. Can you bring it down or pan it slightly?”

Template: “[Timestamp] — [Vocal/808/element] is [too loud/buried/unclear]. Can you [reduce/boost/adjust]?”

Rock / Alternative

Focus areas:

• Dynamics (does the mix have punch and movement?)
• Guitar tone (warmth, distortion level, clarity)
• Drum punch (kick and snare cut through?)
• Vocal presence (lead vocal sits on top without being harsh)
• Stereo width (guitars panned, drums centered, bass mono)

Good feedback examples:

• “At 1:15 in the chorus, the guitars are overpowering the vocal. Can you reduce the rhythm guitars by 2dB?”
• “The snare at 0:30 feels thin. Can you layer a fatter snare sample or boost around 200Hz for more body?”
• “The solo guitar at 2:45 is panned hard right, which feels unbalanced. Can you bring it more toward center (60% R)?”

Template: “[Timestamp] — [Element] feels [thin/overpowering/harsh]. Can you [EQ/layer/adjust panning]?”

Classical / Jazz

Focus areas:

• Musicality and performance (timing, phrasing, dynamics)
• Recording quality (mic placement, room acoustics)
• Natural balance (instruments sit naturally, not over-processed)
• Dynamic range (preserve soft and loud moments)
• Ambience and reverb (natural room sound vs. artificial)

Good feedback examples:

• “At 3:20, the violin is slightly out of tune on the high note. Can you use pitch correction subtly or request a re-recording?”
• “The piano at 1:00 feels too dry for a concert hall setting. Can you add a touch more room reverb?”
• “The overall balance at 2:30 feels compressed—the forte section should be louder than the piano section. Can you preserve more dynamic range?”

Template: “[Timestamp] — [Instrument] feels [too processed/out of place/timing issue]. Can you [adjust/re-record/question]?”

Pop / Singer-Songwriter

Focus areas:

• Vocal production (clarity, tuning, emotional delivery)
• Hook impact (is the chorus catchy and memorable?)
• Arrangement clarity (does each section feel distinct?)
• Radio-ready loudness (competitive with commercial releases)
• Instrumentation balance (vocals front and center, instruments support)

Good feedback examples:

• “At 1:30, the chorus vocal feels slightly flat on the word ‘love’. Can you tighten the pitch correction?”
• “The pre-chorus at 0:55 doesn’t build enough energy into the chorus. Can you add a riser or drum fill?”
• “The bridge at 2:20 sounds too similar to the verse. Can you strip down the instrumentation or add a new element?”

Template: “[Timestamp] — [Section/vocal] feels [flat/repetitive/weak]. Can you [add energy/adjust/layer]?”

Common Feedback Mistakes by Role

Different people in the music production process make different feedback mistakes. Here’s how to avoid them:

Artists Giving Feedback to Mixers

Common Mistakes:

❌ Mistake 1: “Make it louder”

• Problem: Louder doesn’t mean better. Mixers use volume strategically.
• Better: “At 1:30, the vocal feels buried under the guitars. Can you bring the vocal up or reduce the guitars?”

❌ Mistake 2: Focusing on performance issues during mix stage

• Problem: Mix stage is too late to fix performance (timing, tuning, delivery).
• Better: Address performance issues before sending to mixer, or request re-recording specific sections.

❌ Mistake 3: Requesting changes based on laptop speaker playback

• Problem: Laptop speakers don’t represent the mix accurately (no bass, harsh mids).
• Better: “I’m listening on laptop speakers, which might not be accurate, but the bass feels quiet. Does it sound balanced on your monitors?”

Labels / A&R Giving Feedback to Producers

Common Mistakes:

❌ Mistake 1: Vague “needs more energy”

• Problem: What does “energy” mean? Louder? Faster? More instruments?
• Better: “The chorus at 1:00 feels flat compared to the verse. Can you add a synth layer or drum fill to increase intensity?”

❌ Mistake 2: “This section is too long for radio play” (without specific timestamp)

• Problem: Which section? Intro? Bridge? Outro?
• Better: “The intro is 30 seconds, which is too long for radio (aim for 10-15 seconds). Can you cut the first two bars?”

❌ Mistake 3: Changing direction mid-project

• Problem: Requesting a complete genre shift after production is done wastes time and money.
• Better: Set clear creative direction upfront with reference tracks. Save major changes for the next project.

Producers Giving Feedback to Artists

Common Mistakes:

❌ Mistake 1: Overly technical jargon

• Problem: “The sibilance in the 8-10kHz range is harsh” doesn’t help if the artist doesn’t know what sibilance means.
• Better: “The ‘s’ sounds are too sharp and loud. Can you re-record this line with the mic slightly farther from your mouth?”

❌ Mistake 2: Criticizing performance without offering solutions

• Problem: “Your delivery feels flat” is demoralizing without guidance.
• Better: “The delivery at 1:30 feels subdued. Try delivering it with more intensity, as if you’re singing to a crowd.”

❌ Mistake 3: Focusing on mixing issues during tracking

• Problem: “The vocal is too loud” during recording (can be fixed in mix).
• Better: Focus feedback on performance during tracking, save mix feedback for later.

Mixing Engineers Giving Feedback to Mastering Engineers

Common Mistakes:

❌ Mistake 1: “Master it louder”

• Problem: Mastering engineers understand loudness standards (LUFS). Requesting “louder” without context is vague.
• Better: “Can you aim for -14 LUFS for streaming, but also provide a -9 LUFS version for club play?”

❌ Mistake 2: Not providing reference tracks

• Problem: Mastering engineer doesn’t know your tonal goals.
• Better: “I’m going for a warm, vintage vibe similar to [reference track]. Can you master with that in mind?”

❌ Mistake 3: Sending poorly mixed files and expecting mastering to fix them

• Problem: Mastering polishes a good mix, it doesn’t fix a bad one.
• Better: Ensure your mix is balanced before sending to mastering. Address mix issues yourself.

Downloadable Feedback Checklist

Use this checklist before leaving feedback to ensure you’re giving productive, actionable notes:

Before Giving Feedback

• Listen on multiple systems: Headphones, monitors, car, phone (at minimum 2 different systems)
• Compare to reference tracks: How does this mix compare to professional releases in the same genre?
• Note specific timestamps: Don’t just say “the vocals are too quiet”—specify where
• Understand the context: Is this a rough mix, pre-master, or final master? Adjust expectations accordingly.
• Check your playback environment: Quiet room, no distractions, proper monitoring

During Feedback

• Be specific: Identify the exact element (kick drum, lead vocal, synth pad, etc.)
• Provide timestamps: “At 1:32” or “In the second chorus”
• Be actionable: Say what you want changed, or describe the problem clearly
• Prioritize issues: Mark feedback as Critical, Important, or Nice-to-have
• Stay objective on technical issues: Clipping, distortion, timing, tuning = technical. Tone, vibe, energy = creative.

After Feedback

• Summarize main points: “To recap: louder vocals at 1:30, less reverb on snare, tighten low end”
• Set clear next steps: “Looking forward to version 2 with these changes addressed”
• Agree on revision timeline: “Can I get the next version by Friday?”
• Confirm understanding: Ask the producer to summarize back to ensure no miscommunication

Download the Feedback Checklist PDF → (Coming soon—optimized for printing or saving to your device)

How to Give Feedback on Different Elements

Let’s break down how to give specific feedback on common mix elements:

Vocals

Vague: “The vocals sound weird.”

Specific:

• “The lead vocal at 1:15 has too much reverb—it sounds distant. Can you reduce the reverb send by 20-30%?”
• “The vocal harmonies at 2:40 are panned too wide. Can you narrow them to 40% L/R instead of hard-panned?”
• “There’s a harsh sibilance on the ‘s’ sounds around 2:10. Can you add gentle de-essing?”

Drums

Vague: “The drums are too loud.”

Specific:

• “The kick drum is overpowering the bass guitar from 0:45-1:30. Can you reduce the kick by 1-2dB in that section?”
• “The snare feels thin at 3:00. Can you add a subtle boost around 200Hz for more body?”
• “The hi-hats at 1:15 are too bright and distracting. Can you roll off some highs above 10kHz?”

Bass

Vague: “I don’t like the bass.”

Specific:

• “The bass tone at 0:30 feels too boomy. Can you tighten the low end with a high-pass filter around 40Hz?”
• “The bass is getting lost in the mix during the chorus. Can you bring it up 1-2dB or add a subtle midrange boost around 800Hz?”
• “The bass at 2:10 has a note that’s clashing with the kick. Can you adjust the timing or EQ the kick to reduce the overlap?”

Mix Balance

Vague: “Something’s off.”

Specific:

• “At 1:45, the guitar solo is buried under the synth pad. Can you reduce the pad by 2dB or create space with EQ?”
• “The intro at 0:00 feels cluttered. Can you simplify the arrangement or reduce the reverb on the piano?”
• “During the bridge at 2:30, there’s too much low-end buildup. Can you high-pass the rhythm guitar and synth to clear space for the bass?”

Transitions and Arrangement

Vague: “The transition is weird.”

Specific:

• “The transition from verse to chorus at 0:55 feels abrupt. Can you add a fill or riser in the last two bars of the verse?”
• “The ending at 3:50 cuts off too suddenly. Can you add a fade-out or reverb tail?”
• “The breakdown at 2:00 loses energy. Can you keep the hi-hats going or add a subtle pad to maintain momentum?”

Timestamped Feedback: Why It Matters

Without timestamps, producers waste time hunting for the issue. With timestamps, they jump straight to the problem.

How to Reference Time

Option 1: Exact timestamp “At 1:32, the vocal is too quiet.”

Option 2: Section name “In the second chorus, the guitar is too loud.”

Option 3: Both (best) “At 2:15 in the bridge, the snare is too bright.”

Tools for Timestamped Feedback

Email/text (manual): “1:32 — Vocal too quiet 2:15 — Snare too bright 3:05 — Bass clashing with kick”

Google Doc with timestamps: Create a shared doc with time-coded notes.

Audio collaboration platforms (automated): Tools like Aliada, SoundCloud, or BoomBox let you click directly on the waveform to leave timestamped comments. The producer sees your note pinned to the exact moment.

Why this is better: No ambiguity. The producer clicks your comment and hears exactly what you’re referencing.

Technical vs. Creative Feedback

It’s important to distinguish between technical issues (objective) and creative preferences (subjective).

Technical Feedback (Objective Issues)

These are problems with the mix that most professionals would agree on:

• Clipping or distortion
• Phase issues
• Timing problems (off-beat notes)
• Tuning issues (out-of-tune vocals)
• Imbalance (one element drowning out another)

How to give it: “At 1:45, the vocal is clipping. Can you reduce the input gain or add a limiter?”

Creative Feedback (Subjective Preferences)

These are matters of taste and artistic direction:

• Genre choices (more or less reverb, brighter or warmer tone)
• Arrangement decisions (adding or removing elements)
• Energy and vibe (aggressive vs. chill)

How to give it: “I’m thinking the chorus could use more energy. What if we doubled the vocal or added a synth layer?”

Notice the difference:

• Technical feedback: “There’s a problem, fix it”
• Creative feedback: “I prefer this direction, what do you think?”

On creative decisions, the producer probably has reasons for their choices. It’s worth asking before demanding changes.

Common Feedback Mistakes to Avoid

Mistake 1: Feedback by Proxy

Bad: “My friend says the bass is too loud.”

Why it’s bad: Who’s your friend? Are they an audio professional? This adds unnecessary confusion.

Better: “I feel the bass is overpowering the vocals at 1:30. What do you think?”

Mistake 2: Telling Instead of Asking

Bad: “Change the snare sound. It’s wrong.”

Why it’s bad: Comes across as demanding, not collaborative.

Better: “The snare at 2:00 feels too thin for this genre. Could we try a fatter snare sample or layer it?”

Mistake 3: Too Many Changes at Once

Bad: Sending 50 notes in one email covering every tiny detail.

Why it’s bad: Overwhelming. The producer won’t know what to prioritize.

Better: Group feedback into critical, important, and nice-to-have:

• Critical: Issues that prevent the track from being releasable
• Important: Changes that would significantly improve the mix
• Nice-to-have: Minor tweaks that are low priority

Mistake 4: Contradictory Feedback

Bad: Email 1: “Make the vocals louder” Email 2 (next day): “Actually, the vocals are too loud now”

Why it’s bad: Wastes time and confuses the producer.

Better: Listen to the revision carefully before sending new feedback. If you change your mind, explain why: “I know I asked for louder vocals, but hearing it in context, I think we went too far. Can we split the difference?”

Mistake 5: Ignoring Context

Bad: Listening on laptop speakers and demanding changes based on that.

Why it’s bad: Mixes are designed for quality playback systems. Laptop speakers are not representative.

Better: Listen on proper monitors, headphones, or at minimum, decent earbuds. Mention your playback system if there’s an issue: “On my studio monitors, the low end feels too heavy at 2:00. Does it sound the same on your system?”

How to Receive Feedback (For Producers)

If you’re on the other side—receiving feedback—here’s how to handle it professionally:

1. Clarify Vague Feedback

If feedback is unclear, ask follow-up questions:

• Client: “Make it punchier”
• You: “Do you mean more compression on the drums, or louder overall?“

2. Acknowledge All Feedback

Even if you disagree, acknowledge that you heard them: “Got it—you’d like the bass louder at 1:30. Let me try that and see how it affects the balance.”

3. Push Back Respectfully When Needed

If a request would harm the mix, explain why: “I can increase the vocal, but we’re already close to clipping. I’d suggest we reduce the instrumental instead to create space. Would that work?“

4. Summarize and Confirm

After receiving multiple notes, summarize back: “To confirm: louder vocals at 1:30, less reverb on the snare, and tighten the low end. Anything else?”

This prevents miscommunication.

Tools That Make Feedback Easier

The right tools streamline the feedback process:

Email / Text (Basic)

Pros: Simple, universal

Cons: No visual reference, easy to lose track of notes

Google Docs (Better)

Pros: Organized, timestamped notes in one place

Cons: Still requires producer to manually find each timestamp

Audio Collaboration Platforms (Best)

Aliada, SoundCloud, BoomBox:

Pros:

• Click on the waveform to leave timestamped comments
• Producer sees notes pinned to exact moments
• Reduces back-and-forth (“where did you mean?”)
• Version control keeps feedback organized by revision

Cons:

• Requires account (though Aliada allows guest comments without accounts)

Video Calls (For Complex Feedback)

Sometimes real-time conversation is best:

• Screen-share the DAW and walk through changes together
• Faster for complex revisions
• Builds rapport

How Aliada Improves the Feedback Process

Giving feedback over email or text is clunky. You type timestamps, hope the producer finds the right moment, and wait for the next revision.

Aliada streamlines this:

• Click on the waveform to leave timestamped comments
• Comments stay pinned to the exact moment (no confusion)
• Version control keeps feedback organized by revision (you can see what notes were addressed in v2, v3, etc.)
• Lossless playback means clients hear the mix exactly as you intended
• Guest access lets clients comment without creating accounts

Instead of:

“At 2:15 the vocal is too quiet, also at 3:30 the snare is too bright, and at 1:45 the bass is too loud…”

You click the waveform at each moment and leave a note. The producer sees them all, addresses them, and uploads a new version. You can compare versions side-by-side to confirm changes.

Related Guides

Improve your collaboration workflow with these guides:

• Audio File Version Control — Track revisions automatically and never lose a great take
• How to Send Large Audio Files — Professional solutions for sharing audio with clients
• Best Audio File Sharing Platforms 2026 — Compare the best platforms for professional audio collaboration
• How to Organize Audio Files — Folder structures and naming conventions that actually work

What good feedback gets you

Vague feedback wastes days on revisions that miss the mark. Specific feedback gets you to the final mix faster.

The difference is simple: tell the producer what element, where it is, and what’s wrong with it. They’ll know what to fix instead of guessing.

Try Aliada free for 14 days—leave timestamped comments directly on the waveform and keep all revisions organized with automatic version control.