Description |
1 online resource (605 p.) |
Contents |
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 |
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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 |
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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 |
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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 |
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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? |
Notes |
Description based upon print version of record |
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Horizontal or vertical? |
Subject |
Popular music.
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Sound recordings.
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Popular music
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Sound recordings
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Form |
Electronic book
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ISBN |
9781000884005 |
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1000884007 |
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