Mixing audio concepts, practices, and tools
| Otros Autores: | |
|---|---|
| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
New York, NY :
Routledge
[2024]
|
| Edición: | Fourth edition |
| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009843337706719 |
Tabla de Contenidos:
- Intro
- 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.
