Mixing with Impact: Learning to Make Musical Choices

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