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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 |
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| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés Dutch |
| Publicado: |
London :
Taylor and Francis,
2018.
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| Edición: | First edition. |
| Temas: | |
| Acceso en línea: | Texto completo (Requiere registro previo con correo institucional) |
Tabla de Contenidos:
- 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.
- 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.
- 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.
- 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.
- 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.