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The Mixing Engineer's Handbook,9781598632514

The Mixing Engineer's Handbook

by
Edition:
2nd
ISBN13:

9781598632514

ISBN10:
1598632515
Format:
Paperback
Pub. Date:
4/27/2006
Publisher(s):
Cengage Learning
List Price: $28.00

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This is the 2nd edition with a publication date of 4/27/2006.
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  • The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any CDs, lab manuals, study guides, etc.

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Summary

Secrets of the top mixing engineers are revealed in this second edition of the bestselling Mixing Engineer?s Handbook. In this edition, you will learn about the history and evolution of mixing, various mixing styles, the six elements of a mix, the rules for arrangement and how they impact your mix, where to build your mix from, and mixing tips and tricks for every genre of music. You will also learn the secrets of EQ and the ?magic frequencies,? along with tips and tricks for adding effects, EQ?ing reverbs, effects layering, calculating the delay time, and much more. A lot has changed in the recording industry since the last edition was published seven years ago, so the new edition provides completely updated information on tips for a loud mix, hypercompression, mixing for Internet distribution, warning signs of an amateur mix, MP3 encoding, streaming audio, audio codecs, de-essing, gating, surround sound mixing, and more. There is also a completely new chapter on how to get the most from mixing inside your computer, as well as a new section on the bass/drum relationship and how to make this difficult part of the mix easy. The book wraps up with insightful interviews with the top engineers in the fi eld, including George Massenburg, Allen Sides, Bruce Swedien, Elliot Scheiner, Andy Johns, Nathanial Kunkel, and several others. Join the tens of thousands of engineers who have used this book to master the art of mixing.

Table of Contents

Introduction xiv
Part One: Mixing in Stereo
1(109)
Some Background: The Evolution of Mixing
2(5)
Mixing Styles: LA Versus New York Versus London
3(4)
The New York Style
4(1)
The LA Style
4(1)
The London Style
4(1)
Other Styles
5(2)
The Mechanics of Mixing
7(4)
Hearing the Final Product
7(1)
The Overall Approach
8(1)
Tall, Deep, and Wide
8(2)
The Six Elements of a Mix
10(1)
Element 1: Balance---The Mixing Part of Mixing
11(8)
The Arrangement---Where It All Begins
11(1)
Arrangement Elements
12(2)
Bob Seger's ``Night Moves''
13(1)
Alanis Morissette's ``Thank U''
13(1)
Garth Brooks' ``Two Pina Coladas''
14(1)
Rules for Arrangements
14(1)
Limit the Number of Elements
14(1)
Everything in Its Own Frequency Range
14(1)
Where to Build the Mix From
15(2)
What Type of Program Material?
17(1)
Level-Setting Methods
17(2)
Element 2: Panorama---Placing the Sound in the Soundfield
19(5)
Phantom Center
20(1)
The Three Points of Panoramic Interest
20(1)
The Center and the Extreme Hard Left and Right
20(1)
Big Mono
21(1)
Panning Outside the Speakers
22(1)
Tricks and Tips
22(2)
Panning in Dance Music
22(1)
Panning in Mono (Yes, That's Right!)
22(1)
Panning for Clarity
23(1)
Element 3: Frequency Range---Equalizing
24(15)
What Are You Trying to Do?
24(1)
Magic Frequencies
25(1)
EQ Methods
26(4)
Alternate Method
28(2)
Easy-to-Remember Golden Rules of Equalization
30(1)
The Relationship Between Bass and Drums
31(2)
Tricks and Tips
33(6)
General Tips
33(1)
For Snare
33(1)
For Drums
34(1)
For Kick
34(1)
For Bass
35(2)
For Fatter Guitars
37(1)
For Vocals
37(2)
Element 4: Dimension---Adding Effects
39(13)
EQing Reverbs
41(1)
Sonic Layering of Effects
41(3)
Calculating the Delay Time
44(2)
Tape-Based Delay
46(1)
Re-Amping
46(1)
True Tape Flanging
46(2)
The Vintage Method
47(1)
The DAW Method
48(1)
Tricks and Tips
48(4)
For Fatter Lead or Background Vocals
48(1)
For Out-of-Tune Vocals
48(1)
For Electronic Keyboards
49(1)
For Fatter Guitars
49(1)
Tommy Lee ``Thunder Drums''
50(1)
Robot Voice
50(1)
Exploding Snare
51(1)
Element 5: Dynamics---Compression and Gating
52(17)
Dynamics Controllers
52(1)
Compression
53(2)
Limiting
55(1)
De-Essing
55(1)
Gating
56(1)
Why Add Compression?
57(1)
Compression to Control Dynamics
57(1)
Compression as an Effect
58(1)
The New York Compression Trick (Parallel Compression)
58(1)
Compression on Individual Instruments
59(1)
Compression on the Mix Buss
59(2)
The SSL Mix Buss Compressor
61(1)
Setting the Compressor
62(1)
Amount of Compression
63(1)
Tricks and Tips
63(6)
For Snare
63(1)
For Drums
64(1)
For Piano
65(1)
For Vocals
65(2)
For Bass
67(1)
For Guitar
67(2)
Element 6: Interest---The Key to Great (As Opposed to Merely Good) Mixes
69(3)
The Direction of the Song
70(1)
Develop the Groove and Build It Like-a House
70(1)
Find the Most Important Element and Emphasize It
71(1)
Monitoring
72(9)
Basic Monitor Setup
72(2)
Check the Distance Between the Monitors
72(1)
Check the Angle of the Monitors
73(1)
Check the Mounting of the Monitors
73(1)
Check the Setting of the Monitor Parameters
74(1)
Check the Position of the Tweeters
74(1)
Check the Console
74(1)
Mixing Volume
74(2)
Listening in Mono
76(1)
Phase Coherency
77(1)
Balances
77(1)
Panning
77(1)
Choosing a Monitor
77(2)
Things to Listen for in a Monitor
78(1)
Listening Tricks and Tips
79(2)
The Master Mix
81(23)
Competitive Level
81(1)
Hypercompression
82(2)
Mastering
84(4)
Purpose of Mastering
85(1)
Things to Remember Before Mastering
86(2)
Mix-Down Formats
88(8)
Analog Tape
88(1)
Digital
89(7)
Mixing for Internet Distribution
96(5)
MP3 Encoding
96(4)
Streaming Audio
100(1)
Alternative Mixes
101(2)
Stems
103(1)
Mixing in the Box
104(6)
Driving the Desk or Gain Staging
105(1)
Headroom
106(1)
Interview with Gannon Kashiwa, Digidesign's Professional Products Market Manager
107(2)
DAW Controllers
109(1)
Part Two: Mixing in Surround
110(19)
Surround Basics
111(5)
A Bit of History
111(1)
Types of Surround Sound
112(1)
The LFE Channel
112(1)
Bass Management
113(1)
Other Types of Surround
113(3)
Why Is Surround Better Than Stereo?
116(7)
Surround Mixing
117(1)
Differences Between Surround for Picture and Surround for Music
117(1)
Surround Mixing Schools of Thought
118(1)
``Audience'' Versus ``Middle of the Band''
118(1)
What Do I Put in the Center Channel?
118(1)
No Center Channel
118(1)
Isolated Elements in the Center Channel
118(1)
The Center as Part of the Whole
118(1)
What Do I Send to the LFE (Subwoofer) Channel?
119(1)
Do I Need to Use a Bass Manager?
120(1)
Surround to Stereo Compatibility
121(1)
Surround Master Recorders
121(1)
Surround Master Track Assignments
122(1)
Data Compression Used in Surround
123(6)
SRS Circle Surround
124(1)
SDDS (Sony Dynamic Digital Sound)
124(1)
Surround Encoders During Mixing
124(1)
Dolby Digital Encoding
125(1)
Surround Master Media Prep
126(3)
Slate the Master
126(1)
Print a Test Tone
126(1)
Other Things That You Should Document
126(3)
Part Three: The Interviews
129(135)
Joe Chiccarelli
130(5)
Lee DeCarlo
135(5)
Jimmy Douglass
140(8)
Benny Faccone
148(4)
Jerry Finn
152(7)
Jon Gass
159(7)
Don Hahn
166(4)
Ken Hahn
170(5)
Andy Johns
175(5)
Kevin Killen
180(3)
Bernie Kirsh
183(4)
Nathanial Kunkel
187(9)
George Massenburg
196(6)
Greg Penny
202(10)
David Pensado
212(6)
Elliot Scheiner
218(11)
Ed Seay
229(8)
Allen Sides
237(7)
Don Smith
244(4)
Ed Stasium
248(4)
Bruce Swedien
252(8)
John X
260(4)
Appendix A Glossary 264(7)
Appendix B Delay Chart 271(3)
Index 274


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