This includes inaccurate merging of doubles in instrumental parts, sounds of hands hitting the pickups on the electric guitar, noticeable breath of the vocalist, and false notes that need fixing. If the number of such faults is high, it’s a good idea to wait for the fine cut and send the material to mixing and mastering electronic music after that. Otherwise, the process might become way too demanding and the freshness of perception, which is essential for mixing, will be completely lost.
To be honest, all these issues should have been resolved during recording by the audio engineer who performed the tracking. Not to speak of the cases, when a record producer was present, was he deaf? It’s a lot more practical to record parts if you have an idea of the final result. That way you can get closer and closer to it with every new-recorded sound. It will be great if every recorded sound gained the brightness and distinctness according to the music genre. Imagine that you’ve recorded a grand piano with a Steinway-type timbre for Latin-American music. It will be stupid to ask the engineer to make the track sound like a honky-tonk piano. Same goes for recording guitars, where a suitable degree of distortion has to be added in the beginning. If they are recorded naturally, the mixing engineer will have a hard time turning some poor sources into something that a client sees as perfect sound. If you got interested please learn for yourself our professional music mastering mixing demos.