Cover
Half Title
Title Page
Copyright Page
Contents
Symbols used
Introduction
Part I: Concepts and practices
1. Music and mixing
Music: An extremely short introduction
The role and importance of the mix
The perfect mix
Note
2. Some axioms and other gems
Louder is better
Percussives weigh less
Importance
Natural vs. artificial
3. Learning to mix
What makes a great mixing engineer?
Mixing vision
The skill to evaluate sounds
Mastering the tools and knowledge of other common tools
Theoretical knowledge
Interpersonal skills
The ability to work fast
Methods of learning
Reading about mixing
Reading and hearing
Seeing and hearing
Doing it
Mixing analysis
Reference tracks
Usage of reference tracks
How to choose a reference track
4. The process of mixing
The arrangement
The recordings
Mixing in the production chain
Recording the whole versus recording its parts
Mixing the whole versus mixing its parts
Home recordings
Garbage in; garbage out?
Editing
Sequenced music
Where to start
Preparations
Auditioning and the rough mix
The plan
Technical vs. creative
Which instrument?
Which section?
Which treatment?
The iterative approach
Milestones
Finalizing and stabilizing the mix
Mix edits
Mastering
Why master?
Mastering delivery
The loudness war
DIY mastering
Compensating for the lack of
Mastering tools
Why split the process?
A/B nearly like a pro
Note
5. Related issues
How long does it take?
Deadlocks
The evaluation block
The circular deadlock
Breaks
The danger with solos
Mono listening
Housekeeping
6. Mixing and the brain
Dual process theory
Two process types
From conscious to unconscious
The power of the unconscious
Exercising the unconscious
Warm guns
Intuition
The two modes of mixing
Thinking without thinking
Emotions
Change
Change and attention
Change is progress
Creativity
7. Mixing domains and objectives
Mixing objectives
Mood
Balance
Definition
Interest
Frequency domain
The frequency spectrum
Frequency balance and common problems
The frequency domain and other objectives
Level domain
Levels and balance
Levels and interest
Levels, mood, and definition
Dynamic processing
Stereo domain
Stereo image criteria
Stereo balance
Stereo image and other objectives
Depth
Part II: Tools
8. Monitoring
How did we get here?
Sound reproduction
Auratones, near-fields, and full-range monitors
The NS10s
Going full-range
Subwoofers
Choosing monitors
Active vs. passive
Enclosure designs and specifications
A choice of experience
The room factor
Room modes
Treating room modes
Flutter echo
Early reflections
Positioning monitors
Where in the room?
The equilateral triangle
How far?
Horizontal or vertical?
Damping monitors
A/B realm
Headphone mixing
Headphones vs. speakers: The theory
The advantages
The disadvantages
Headphone amps
Which headphones?
9. Meters
Amplitude vs. level
Mechanical and bar meters
Peak meters
Average meters
Phase meters
10. Mixing consoles
Buses
Processors vs. effects
Processors
Effects
Connecting processors and effects
Basic signal flow
Step 1: Faders, pan-pots, and cut switch
Step 2: Line gains, phase-invert, and clip indicators
Step 3: Onboard processors
Step 4: Insert points
The importance of signal flow diagrams
Step 5: Auxiliary sends
Step 6: FX returns
Groups
Control grouping
VCA grouping
Audio grouping
Bouncing
In-line consoles
The recording aspects
Going in-line
In-line consoles and mixing
The monitor section
The monitor output
Additional controls
Solos
Destructive solo
Nondestructive solo
Solo safe
Which solo?
Correct gain structure
The digital console
Console emulation
11. Software mixers
Tracks and mixer strips
Tracks
Mixer strips
Solos
Control grouping
Routing
Audio grouping
Sends and effects
Other routing
Naming buses (housekeeping tip)
The internal architecture
Integer notation
Floating-point notation
What is in it for us?
Bouncing
Dither
Normalization
The master fader
The playback buffer
Plugin delay compensation
12. Phase
What is phase?
Problems
Phase problems on recorded material
Phase problems during mixdown
Tricks
The Haas trick
The out-of-speakers trick
13. Faders
Types
Sliding potentiometer
VCA fader
Digital fader
Scales
Working with faders
Level planning
The extremes-inward experiment
14. Panning
How stereo works
Pan controls
The pan-pot
The pan clock
Panning laws
The balance pot
Types of track
Mono tracks
Stereo pairs
Multiple mono tracks
Combinations
Panning techniques
Panning and masking
The sound stage
Effect panning
Beyond pan-pots
Autopanners
15. Equalizers
Applications
Balanced frequency spectrum
Shaping the presentation and timbre of instruments
Separation
Definition
Conveying feelings and mood
Creative use
Interest
Depth enhancements
More realistic effects
Stereo enhancements
Fine-level adjustments
Better control over dynamic processors
Removing unwanted content
Compensating for a bad recording
The frequency spectrum
Spectral content
Bands and associations
Sibilance
Types and controls
Filters, equalizers, and bands
Frequency-response graphs
Pass filters
Shelving filters
Parametric filters
A summary of pass, shelving, and parametric filters
Graphic equalizers
Dynamic equalizers
In practice
Equalization and solos
Upward vs. sideways
Equalizers and phase
The frequency yin-yang
Equalization and levels
The psychoacoustic effect of taking away
Applications of the various shapes
HPFs
LPFs
Shelving filters
Parametric filters
Equalizing various instruments
Spectral components
Vocals
Overheads
Kick
Snare
Toms
Hi-hats and cymbals
Bass
Acoustic guitar
Clean electric guitar
Distorted guitar
16. Introduction to dynamic range processors
Dynamic range
Dynamics
Dynamic range processors in a nutshell
Transfer characteristics
The function of different processors
Pumping and breathing
17. Compressors
The course of history
The sound of compressors
Principle of operation and core controls
Gain
Level detection and peak vs. RMS
Threshold
Ratio
Attack and release
Hold
Phase inverse
Additional controls
Makeup gain
Hard- and soft-knees
Look-ahead
Stereo linking
External side-chain
Side-chain filters and inserts
Compressor meters
Controls in practice
Threshold
Ratio
The relationship between threshold and ratio
Attack
Release
Peak vs. RMS
Side-chain control
Applications
Accentuating the inner details of sounds
Balancing levels
Loudening
Reshaping dynamic envelopes
De-essing
Making programmed music sound more natural
Applying dynamic movement
A compressor as a ducker
Tricks
Parallel compression
Serial compression
More on compressors
Compressors, depth, and focus
Setting up a compressor
Multiband compression
Before or after the EQ?
Compressors on the mix bus
Dynamic convolution compressors
18. Limiters
19. Gates
Controls
Threshold
Hysteresis
Range
Attack and release
Hold
Look-ahead
Side-chain filters
Key input
Output level
Stereo link
Meters
Applications
Removing noise
Removing spill
Reshaping dynamic envelopes
In practice
The problem with gates
Gate alternatives: Manual gating
Gate alternatives: De-noisers
Tricks
Manual look-ahead
Kick-clicker
Adding sub-bass to a kick
Tighten bass to a kick
20. Expanders
Controls
In practice
Upward expanders
21. Duckers
Operation and controls
Applications
22. Delays
Delay basics
Delay time
Modulating the delay time
Feedback
Wet/dry mix and input/output level controls
The tape as a filter
Types
The simple delay
Modulated/feedback delay
Ping-pong delay
Multitap delay
Phrase sampler mode
In practice
Delay times
Panning delays
Tempo-sync
Filters
Modulation
The automated delay line
Applications
Add sense of space and depth
Add life
Natural distance
Fill time gaps
Fill stereo gaps
Pseudo-stereo
Make sounds bigger/wider
As a key tool in dance music
23. Other modulation tools
Vibrato
ADT
Chorus
Flanging
Phasing
Tremolo
24. Reverbs
What is reverb?
Applications
Simulating natural, or creating imaginary, ambiance
Gel the instruments in the mix
Increase the distinction of instruments
Depth
Enhance a mood
Livening sounds
Filling time gaps
Filling the stereo panorama
Changing the timbre of instruments
Reconstruct decays and natural ambiance
Resolve masking
More realistic stereo localization
A distinctive effect
Impair a mix
Types
Stereo pair in a room
Reverb chambers (echo chambers)
Spring reverb
Plate reverb
Digital emulators
Convolution (sampling) reverbs
Reverb programs
Reverb properties and parameters
Direct sound
Pre-delay
Early reflections (ERs)
Reverberation (late reflections)
Pure reflections
Reverb ratios and depth
Decay time
Room size
Density
Diffusion
Frequencies and damping
Reverbs and stereo
Mono reverbs
Stereo reverbs and true stereo reverbs
Panning stereo reverbs
Other reverb types
Fixed-source reverb emulators
Movable source reverb emulators
Gated and nonlinear reverbs
Reverse reverbs and preverb
Reverbs in practice
Reverb quantity and allocation
Aux send or insert?
Pre- or post-fader?
Pre-compressor reverb send
How loud? How much?
Tuning ambiance
Delay and reverb coupling
Reverb coupling
25. Distortion
Background
Distortion basics
Harmonic distortion and inter-modulation
The problem with distortion in the digital domain
Parallel distortion
Ways to generate distortion
Gain controls
Digital clipping
Short attack and release on dynamic range processors
Wave shapers
Bit reduction
Amp simulators
Dedicated units or plugins
26. Drum triggering
Methods of drum triggering
Delay units with sample and hold
Drum module triggers
Footswitch on a synchronizer
Drum replacement plugins
Audio to MIDI
Manually pasting samples onto a track
27. Other tools
MS
Background
MS and LR conversion
Applications of MS
Pitch shifters and harmonizers
Exciters and enhancers
Transient designers
28. Automation
Automation engines
The automation process
Performing vs. drawing
Performing automation
Automation modes
Automation alternatives
Duplicates
Fades
Control surfaces
Part III: Sample mixers
29. "Show Me" (rock 'n' roll)
Drums
Overheads
Overheads (duplicate)
Kick
Snare
Hi-hats
Tom 1
Tom 2
Toms 1 and 2 (tom runs)
Bass
Rhythm guitar
Lead guitar
Normal lead
Lead slides
Lead solo
Lead accents
Feedbacks
Vocal
Verse one vocal
Bridge vocal
Chorus vocal
Verse two vocal
30. "It's Temps Pt. II" (hip-hop/urban/grime)
Beat
Main kick
Second and bat kick
Main snare
Second snare
Claps
Hi-hats
Wood
Broken bells
Cajon
Beat group
Break beat
Bass
Main bass
Bass support
Other tracks
Steel drums
Gtr Pizz
French horns
Big stack
Dist Bells
LPTwin
Trumpet 1
Trumpet 2
Screamin B4
Analog King
Imposcar
Vocals
Vocals reverb
vIntro1
vIntro2
vIntro3
vVerseLead
vVerse1
vVerse2
vKsh
vChorusLead
vChs1
vChs2
vAns1 and vAns2
vAns3 and vAns4
vTemps1 and vTemps2
vBreak1 and vBreak2
vFX
vOutro and vOutroDelay
Vocals group
31. "Donna Pomini" (techno)
Ambiance reverb
Beat
Main kick
Pillow kick
One-hit snare
LiSnare 1
SnareB
Claps
LiMidSnare
LiSnare 2
Kick 2
Kick WoodKnock
Main Snare
Rvs Snare
Straight Snare
Whip Snare
March Snare
Main hats
Hats 2
Hats 4 hits
Hats Backbeat
Crash 1, Crash 2, and Crash 3
WoodZest
PaperLoop
Bat Zips, Bat Zaps, Bat Hit1, Bat Hit2, Bat Hit3, Bat Iron, and Bat Wiper
Beat Group
Sound FX
Splutter
Laser Gun
ChemiWind
FallBall
SciFi Waves
Bass
JoviBass
ZugBass
ZugBassR
Vocal
Vox
Other elements
Gidi FM
Wacko
Wacko Filtered
Wacko Support
Drops
Drops Noise
SinSeqRoot, SinSeq3rd, SinSeq5th
SinSeq group
LeadSeq
LoFi Saw
Straight Bass
Straight Beep
Leadar
OceanPad
OceanSup
LowHarm, HighHarm
ContraWaves
32. "The Hustle" (DnB)
Ambiance reverb
Drums
Attack Kick
Dirt Kick
Kick triggers
Thump Kick
Snare
Sub Snare
Pend Snare
Hi Hats
Comp Break
Tamb
Break Beat
Hip Hop Beat
Hip Hop Beat distorted layer
Claps
Half Time
Bongos 1 and Bongos 2
Pen Drums
Crash
Beat group
Motif elements
Sick as Funk
Bass
Focus Bass
Dina
Worm
Lead group
Hemorrhage
Jumpy
Sick Warble
Pads
Atoms 1
Atoms 2
Korg 174
Horns and brass
Curtis Rev
Horns
Hip Hornz 2
Hip Hornz 3
Curtis Verb
Risers
Riser and Reversed Rise
Bent Phase
Hi Synth
ES2 Rise
Sine Rise
Strings
Curtis Strings
Strings Finale
33. "Hero" (rock)
Drums
Overheads
Kick
Snare top
Snare bottom
Snare triggers
Hi-hats
Ride
Toms
Tom triggers
Tambourine
Bass
Main bass
Break bass
Bass FX
Rhythm guitar
Intro/break rhythm guitar
Main rhythm guitar
Support rhythm guitar
Distorted guitars
Curtain guitars
Power guitars
Distorted guitar group
Lead guitar
Lead guitar
Lead guitar FX
Vocals
Lead vocal
Vocal FX
Fake second voice
Real second voice
Ahh BV
Break BV
Appendix A. The science of bouncing
Bouncing issues
Appendix B. Notes-to-frequencies chart
Appendix C. Delay time chart
Simple note values
Triplets
Dotted notes
Index