An analysis on the cultural influence in music mixing: The case of Turkey and Iran

This thesis aims to analyze the influence of cultural differences in the music mixing process, revealing that technical and aesthetic decisions are shaped not only by individual choices but also by cultural foundations. Mixing engineering is not merely a technical activity confined to sound processing; rather, it is a multi-layered production practice shaped by cultural values, aesthetic norms, and societal musical understandings. In this context, the study focuses on the mixing of two traditional folk music pieces from Turkey and Iran by sound engineers with different cultural backgrounds, and conducts a comparative analysis based on the resulting variations. Within the scope of the research, the Iranian piece Rendan Salamat Mikonand and the Turkish piece Sarı Zeybek were selected. Each was mixed using the same multitrack recordings by a total of six sound engineers—three Iranian and three Turkish. The mixing process was left open-ended, allowing engineers to apply their own technical and aesthetic preferences in areas such as effects, level balancing, stereo imaging, and frequency processing. A total of 12 mix versions were analyzed through both technical measurements and the evaluations of a listening group consisting of 20 professional musicians—10 from Iran and 10 from Turkey. The technical analysis included measurements of frequency spectrum, spectrograms, stereo imaging, dynamic range, true peak, and LUFS values, using tools such as iZotope RX 10, Reaper, and custom-developed analysis software. Listener evaluations were collected through a ten-criterion survey, combining both quantitative and open-ended qualitative feedback. Qualitative data were analyzed using content analysis and thematically coded with the assistance of ChatGPT. The findings demonstrate that cultural background significantly influences the technical and aesthetic decisions of mixing engineers. Iranian engineers focused on mid-frequency ranges, applied a more balanced distribution of energy in the low and high frequencies, and created a wider stereo field. In contrast, Turkish engineers adopted a dense, voluminous, and energetic approach, characterized by enhanced low-frequency energy, brightness in the high frequencies, and a center-oriented stereo placement. Nevertheless, both groups showed similarities in level management, as True Peak values in their mixes were either close to or exceeded international standards. Listener surveys revealed that mixing preferences were also shaped by universal criteria beyond cultural differences. Both Iranian and Turkish listeners identified level balance, vocal clarity, stereo width, and frequency management as the key indicators of a successful mix. Interestingly, Iranian listeners rated some Turkish engineers' mixes as technically more successful than those from their own cultural group, emphasizing the decisive role of universal technical quality in perception. In conclusion, this study highlights that while cultural background plays a strong role in shaping the technical and aesthetic decisions of mixing engineers, listener perception remains highly sensitive to universal standards of quality.