| |
| |
| Introduction | |
| |
| |
| |
| Mixing in Stereo | |
| |
| |
| |
| Some Background: The Evolution of Mixin | |
| |
| |
| Mixing Styles: LA Versus New York Versus London | |
| |
| |
| The New York Style | |
| |
| |
| The LA Style | |
| |
| |
| The London Style | |
| |
| |
| Other Styles | |
| |
| |
| |
| The Mechanics of Mixing | |
| |
| |
| Hearing the Final Product | |
| |
| |
| The Overall Approach | |
| |
| |
| Tall, Deep, and Wide | |
| |
| |
| The Six Elements of a Mix | |
| |
| |
| |
| Element 1: Balance-The Mixing Part of Mixing | |
| |
| |
| The Arrangement-Where It All Begins | |
| |
| |
| Arrangement Elements | |
| |
| |
| Bob Seger's "Night Moves" | |
| |
| |
| Alanis Morissette's "Thank U" | |
| |
| |
| Garth Brooks' "Two Pina Coladas" | |
| |
| |
| Rules for Arrangements | |
| |
| |
| Limit the Number of Elements | |
| |
| |
| Everything in Its Own Frequency Range | |
| |
| |
| Where to Build the Mix From | |
| |
| |
| What Type of Program Material? | |
| |
| |
| Level-Setting Methods | |
| |
| |
| |
| Element 2: Panorama-Placing the Sound in the Soundfield | |
| |
| |
| Phantom Center | |
| |
| |
| The Three Points of Panoramic Interest | |
| |
| |
| The Center and the Extreme Hard Left and Right | |
| |
| |
| Big Mono | |
| |
| |
| Panning Outside the Speakers | |
| |
| |
| Tricks and Tips | |
| |
| |
| Panning in Dance Music | |
| |
| |
| Panning in Mono (Yes, That's Right!) | |
| |
| |
| Panning for Clarity | |
| |
| |
| |
| Element 3: Frequency Range-Equalizing | |
| |
| |
| What Are You Trying to Do? | |
| |
| |
| Magic Frequencies | |
| |
| |
| EQ Methods | |
| |
| |
| Alternate Method | |
| |
| |
| Easy-to-Remember Golden Rules of Equalization | |
| |
| |
| The Relationship Between Bass and Drums | |
| |
| |
| Tricks and Tips | |
| |
| |
| General Tips | |
| |
| |
| For Snare | |
| |
| |
| For Drums | |
| |
| |
| For Kick | |
| |
| |
| For Bass | |
| |
| |
| For Fatter Guitars | |
| |
| |
| For Vocals | |
| |
| |
| |
| Element 4: Dimension-Adding Effects | |
| |
| |
| EQing Reverbs | |
| |
| |
| Sonic Layering of Effects | |
| |
| |
| Calculating the Delay Time | |
| |
| |
| Tape-Based Delay | |
| |
| |
| Re-Amping | |
| |
| |
| True Tape Flanging | |
| |
| |
| The Vintage Method | |
| |
| |
| The DAW Method | |
| |
| |
| Tricks and Tips | |
| |
| |
| For Fatter Lead or Background Vocals | |
| |
| |
| For Out-of-Tune Vocals | |
| |
| |
| For Electronic Keyboards | |
| |
| |
| For Fatter Guitars | |
| |
| |
| Tommy Lee "Thunder Drums" | |
| |
| |
| Robot Voice | |
| |
| |
| Exploding Snare | |
| |
| |
| |
| Element 5: Dynamics-Compression and Gating | |
| |
| |
| Dynamics Controllers | |
| |
| |
| Compression | |
| |
| |
| Limiting | |
| |
| |
| De-Essing | |
| |
| |
| Gating | |
| |
| |
| Why Add Compression? | |
| |
| |
| Compression to Control Dynamics | |
| |
| |
| Compression as an Effect | |
| |
| |
| The New York Compression Trick (Parallel Compression) | |
| |
| |
| Compression on Individual Instruments | |
| |
| |
| Compression on the Mix Buss | |
| |
| |
| The SSL Mix Buss Compressor | |
| |
| |
| Setting the Compressor | |
| |
| |
| Amount of Compression | |
| |
| |
| Tricks and Tips | |
| |
| |
| For Snare | |
| |
| |
| For Drums | |
| |
| |
| For Piano | |
| |
| |
| For Vocals | |
| |
| |
| For Bass | |
| |
| |
| For Guitar | |
| |
| |
| |
| Element 6: Interest-The Key to Great (As Opposed to Merely Good) Mixes | |
| |
| |
| The Direction of the Song | |
| |
| |
| Develop the Groove and Build It Like a House | |
| |
| |
| Find the Most Important Element and Emphasize It | |
| |
| |
| |
| Monitoring | |
| |
| |
| Basic Monitor Setup | |
| |
| |
| Check the Distance Between the Monitors | |
| |
| |
| Check the Angle of the Monitors | |
| |
| |
| Check the Mounting of the Monitors | |
| |
| |
| Check the Setting of the Monitor Parameters | |
| |
| |
| Check the Position of the Tweeters | |
| |
| |
| Check the Console | |
| |
| |
| Mixing Volume | |
| |
| |
| Listening in Mono | |
| |
| |
| Phase Coherency | |
| |
| |
| Balances | |
| |
| |
| Panning | |
| |
| |
| Choosing a Monitor | |
| |
| |
| Things to Listen for in a Monitor | |
| |
| |
| Listening Tricks and Tips | |
| |
| |
| |
| The Master Mix | |
| |
| |
| Competitive Level | |
| |
| |
| Hypercompression | |
| |
| |
| Mastering | |
| |
| |
| Purpose of Mastering | |
| |
| |
| Things to Remember Before Mastering | |
| |
| |
| Mix-Down Formats | |
| |
| |
| Analog Tape | |
| |
| |
| Digital | |
| |
| |
| Mixing for Internet Distribution | |
| |
| |
| MP3 Encoding | |
| |
| |
| Streaming Audio | |
| |
| |
| Alternative Mixes | |
| |
| |
| Stems | |
| |
| |
| |
| Mixing in the Box | |
| |
| |
| Driving the Desk or Gain Staging | |
| |
| |
| Headroom | |
| |
| |
| Interview with Gannon Kashiwa, Digidesign's Professional Products Market Manager | |
| |
| |
| DAW Controllers | |
| |
| |
| |
| Mixing in Surround | |
| |
| |
| |
| Surround Basics | |
| |
| |
| A Bit of History | |
| |
| |
| Types of Surround Sound | |
| |
| |
| The LFE Channel | |
| |
| |
| Bass Management | |
| |
| |
| Other Types of Surround | |
| |
| |
| |
| Why Is Surround Better Than Stereo? | |
| |
| |
| Surround Mixing | |
| |
| |
| Differences Between Surround for Picture and Surround for Music | |
| |
| |
| Surround Mixing Schools of Thought | |
| |
| |
| "Audience" Versus "Middle of the Band" | |
| |
| |
| What Do I Put in the Center Channel? | |
| |
| |
| No Center Channel | |
| |
| |
| Isolated Elements in the Center Channel | |
| |
| |
| The Center as Part of the Whole | |
| |
| |
| What Do I Send to the LFE (Subwoofer) Channel? | |
| |
| |
| Do I Need to Use a Bass Manager? | |
| |
| |
| Surround to Stereo Compatibility | |
| |
| |
| Surround Master Recorders | |
| |
| |
| Surround Master Track Assignments | |
| |
| |
| |
| Data Compression Used in Surround | |
| |
| |
| SRS Circle Surround | |
| |
| |
| SDDS (Sony Dynamic Digital Sound) | |
| |
| |
| Surround Encoders During Mixing | |
| |
| |
| Dolby Digital Encoding | |
| |
| |
| Surround Master Media Prep | |
| |
| |
| Slate the Master | |
| |
| |
| Print a Test Tone | |
| |
| |
| Other Things That You Should Document | |
| |
| |
| |
| The Interviews | |
| |
| |
| |
| Joe Chiccarelli | |
| |
| |
| |
| Lee DeCarlo | |
| |
| |
| |
| Jimmy Douglass | |
| |
| |
| |
| Benny Faccone | |
| |
| |
| |
| Jerry Finn | |
| |
| |
| |
| Jon Gass | |
| |
| |
| |
| Don Hahn | |
| |
| |
| |
| Ken Hahn | |
| |
| |
| |
| Andy Johns | |
| |
| |
| |
| Kevin Killen | |
| |
| |
| |
| Bernie Kirsh | |
| |
| |
| |
| Nathanial Kunkel | |
| |
| |
| |
| George Massenburg | |
| |
| |
| |
| Greg Penny | |
| |
| |
| |
| David Pensado | |
| |
| |
| |
| Elliot Scheiner | |
| |
| |
| |
| Ed Seay | |
| |
| |
| |
| Allen Sides | |
| |
| |
| |
| Don Smith | |
| |
| |
| |
| Ed Stasium | |
| |
| |
| |
| Bruce Swedien | |
| |
| |
| |
| John X | |
| |
| |
| |
| Glossary | |
| |
| |
| |
| Delay Chart | |
| |
| |
| Index | |