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Mixing with Impact : Learning to Make Musical Choices /
"In Mixing with Impact: Learning to Make Musical Choices, Wessel Oltheten discusses the creative and technical concepts behind making a mix. Whether youre a dance producer in your home studio, a live mixer in a club, or an engineer in a big studio, the mindset is largely the same. The same goes...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés Dutch |
| Publicado: |
London :
Taylor and Francis,
2018.
|
| Edición: | First edition. |
| Temas: | |
| Acceso en línea: | Texto completo (Requiere registro previo con correo institucional) |
MARC
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| 100 | 1 | |a Oltheten, Wessel, |e author. | |
| 245 | 1 | 0 | |a Mixing with Impact : |b Learning to Make Musical Choices / |c Wessel Oltheten. |
| 250 | |a First edition. | ||
| 264 | 1 | |a London : |b Taylor and Francis, |c 2018. | |
| 300 | |a 1 online resource : |b text file, PDF | ||
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| 520 | 2 | |a "In Mixing with Impact: Learning to Make Musical Choices, Wessel Oltheten discusses the creative and technical concepts behind making a mix. Whether youre a dance producer in your home studio, a live mixer in a club, or an engineer in a big studio, the mindset is largely the same. The same goes for the questions you run into: where do you start? How do you deal with a context in which all the different parts affect each other? How do you avoid getting lost in technique? How do you direct your audiences attention? Why doesnt your mix sound as good as someone elses? How do you maintain your objectivity when you hear the same song a hundred times? How do your speakers affect your perception? Whats the difference between one compressor and another?Following a clear structure, this book covers these and many other questions, bringing you closer and closer to answering the most important question of all: how do you tell a story with sound?"--Provided by publisher. | |
| 505 | 0 | |a Cover; Half Title; Title Page; Copyright Page; Table of Contents; Acknowledgments; Preface; Travel Guide for This Book; 1 The World of Mixing: About the Profession of This Book; 1.1 Who Is the Mixer?; 1.2 Why Is Mixing Necessary?; 1.3 What Is the Challenge?; 1.4 On Rules; 2 Listening: Everything Is Relative; 2.1 Perception; 2.2 Your Ear Is a Compressor; 2.3 Your Ear Is an Equalizer; 2.4 Tuning In; 2.5 A Fixed Reference; 2.6 Taking Professional Care of Your Ears; 3 Laying the Foundation: Creating a Starting Position; 3.1 Before You Start; 3.2 Foundation; 3.3 Balance; 3.4 Panning. | |
| 505 | 8 | |a 3.5 Mute Is Your Friend4 The Frequency Spectrum: No Light without Darkness; 4.1 Association Is Key; 4.2 Masking; 4.3 The Goal of EQ; 4.4 EQ Compass; 5 Dynamics: Without Soft There Is No Loud; 5.1 Dynamics versus Time; 5.2 Technical and Musical Dynamics; 5.3 Using Compressors; 5.4 Reducing Masking with Compression; 5.5 Dynamics and Loudness; 6 Space: There's More Room Than You Think; 6.1 Hearing Space and Distance; 6.2 Simulating Space and Distance; 6.3 How Reverb Works; 6.4 Using Reverb; 6.5 How Delay Works; 6.6 Using Delay; 7 Time and Phase: It's All About the Sum of the Parts. | |
| 505 | 8 | |a 7.1 Interaction7.2 Combining Microphones Hierarchically; 7.3 Combining Microphones Non-hierarchically; 7.4 Phase Manipulation; 8 Identity: A Unique Sound; 8.1 Innovation, Imitation and Inspiration; 8.2 Shaping Identity; 9 Effects: Craziness with a Purpose; 9.1 Distortion: Simulating Intensity; 9.1.1 How it Works; 9.1.2 Distortion in a Mix; 9.2 Re-amping: Providing Context; 9.2.1 How it Works; 9.2.2 Re-amping in a Mix; 9.3 Modulation: Putting Things in Motion; 9.3.1 How it Works; 9.3.2 Modulation in a Mix; 9.4 Pitch Manipulation: Creating What Wasn't There; 9.4.1 How it Works. | |
| 505 | 8 | |a 9.4.2 Pitch Shifting in a Mix9.5 Triggering: Cause and Effect; 9.5.1 How it Works; 9.5.2 Triggering in a Mix; 9.6 Spectral Editing: Unreal Reality; 9.6.1 How it Works; 9.6.2 Spectral Processing in a Mix; 10 Automation: Performing the Mix; 10.1 Faders for Each Function; 10.2 Parallel Constructions; 10.3 Change and Conquer; 10.4 Expressivity; 11 Advanced Techniques: Exploring the Boundaries; 11.1 The Floor: Keeping Low Frequencies in Check; 11.2 The Ceiling: Creating Clear Mixes; 11.3 Securing the House: Dynamic Interventions; 11.4 The Exterior Walls: Stereo Processing. | |
| 505 | 8 | |a 11.5 Beyond the Exterior Walls: 3D Panning12 Bus Compression: The Sum of the Parts; 12.1 Influence; 12.2 Choices and Settings; 12.3 Multibus Setups: Painting on a Colored Canvas; 13 Templates: Working Faster Means a Better Mix; 13.1 Time Is Money; 13.2 Building Templates; 13.3 Integrating Equipment in the 21st Century; 14 Preparing for Mastering: A Good Relationship; 14.1 Communication; 14.2 What Is a Good Mix?; 14.3 Mix Bus Processing; 14.4 Stems; 14.5 Consequences of Loudness Normalization; 15 Mindset: A Competition Against Yourself; 15.1 Doubt Is Fatal for a Mix. | |
| 504 | |a Includes bibliographical references and index. | ||
| 590 | |a O'Reilly |b O'Reilly Online Learning: Academic/Public Library Edition | ||
| 650 | 0 | |a Sound |x Recording and reproducing. | |
| 650 | 6 | |a Son |x Enregistrement et reproduction. | |
| 650 | 7 | |a MUSIC |x Instruction & Study |x Theory. |2 bisacsh | |
| 650 | 7 | |a Sound |x Recording and reproducing |2 fast | |
| 776 | 0 | |z 9781351624244 |z 9781351624237 | |
| 856 | 4 | 0 | |u https://learning.oreilly.com/library/view/~/9781351624237/?ar |z Texto completo (Requiere registro previo con correo institucional) |
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| 938 | |a Taylor & Francis |b TAFR |n 9781315113173 | ||
| 938 | |a Askews and Holts Library Services |b ASKH |n AH33673187 | ||
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