Mixing with Impact: Learning to Make Musical Choices
- Author: Oltheten, Wessel
All in all, then, Mixing With Impact's 350 pages are packed with useful ideas, up-to-date, well-marshalled information, and great conceptual explanations backed up with lots of useful diagrams.... — More…
Book
$203.75Printed on demand
Contents
- Colophon
- Preface
- Travel guide for this book
- Chapter 1: The world of mixing
- 1.1 Who is the mixer?
- 1.2 Why is mixing necessary?
- 1.3 What is the challenge?
- 1.4 On rules
- Chapter 2: Listening
- 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
- Chapter 3: Laying the foundation
- 3.1 Before you start
- 3.2 Foundation
- 3.3 Balance
- 3.4 Panning
- 3.5 Mute is your friend
- Chapter 4: The frequency spectrum
- 4.1 Association is key
- 4.2 Masking
- 4.3 The goal of EQ
- 4.4 EQ compass
- Chapter 5: Dynamics
- 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
- Chapter 6: Space
- 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
- Chapter 7: Time and phase
- 7.1 Interaction
- 7.2 Combining microphones hierarchically
- 7.3 Combining microphones non-hierarchically
- 7.4 Phase manipulation
- Chapter 8: Identity
- 8.1 Innovation, imitation and inspiration
- 8.2 Shaping identity
- Chapter 9: Effects
- 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 mix
- 9.5 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
- Chapter 10: Automation
- 10.1 Faders for each function
- 10.2 Parallel constructions
- 10.3 Change and conquer
- 10.4 Expressivity
- Chapter 11: Advanced techniques
- 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 panning
- Chapter 12: Bus Compression
- 12.1 Influence
- 12.2 Choices and settings
- 12.3 Multibus setups: painting on a colored canvas
- Chapter 13: Templates
- 13.1 Time is money
- 13.2 Building templates
- 13.3 Integrating equipment in the 21st century
- Chapter 14: Preparing for mastering
- 14.1 Communication
- 14.2 What is a good mix?
- 14.3 Mixbus processing
- 14.4 Stems
- 14.5 Consequences of loudness normalization
- Chapter 15: Mindset
- 15.1 Doubt is fatal for a mix
- 15.2 Imposed limitations - working in a context
- 15.3 A guide for your mix
- 15.4 Ways to stay fresh
- Chapter 16: The outside world
- 16.1 Speaking the same language
- 16.2 Reference tracks
- 16.3 Feedback on the source material
- 16.4 Feedback on the mix: revisions
- 16.5 Working at a distance
- 16.6 Conclusion
- Chapter 17: Tools
- 17.1 Basic acoustics
- 17.1.1 Space
- 17.1.2 Optimization
- 17.2 Monitoring
- 17.3 Subwoofers
- 17.3.1 Why use a subwoofer?
- 17.3.2 Choosing a subwoofer
- 17.3.3 Installing and adjusting
- 17.4 Headphones
- 17.5 How EQ works and its side-effects
- 17.6 How compressors work and their side-effects
- Index