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Mixing Audio: Concepts, Practices, and Tools is a vital read for anyone wanting to succeed in the field of mixing―covering the entire mixing process, from fundamental concepts to advanced techniques. Packed full of photos, graphs, diagrams, and audio samples, it teaches the importance of a mixing vision, how to craft and evaluate your mix, and then take it a step further. Mixing Audio describes the theory, the tools, and how these are put into practice while creating mixes. The companion website, featuring over 2,000 audio samples as well as Multitrack Audio Sessions, is a perfect complement to the book. The new edition includes: An extension of the discussion on mastering which now includes the loudness war, LUFS targets, and DIY mastering Updated figures and illustrations throughout A new section covering console emulation Cover Half Title Title Page Copyright Page Contents Symbols used Introduction Part I: Concepts and practices 1. Music and mixing Music: An extremely short introduction The role and importance of the mix The perfect mix Note 2. Some axioms and other gems Louder is better Percussives weigh less Importance Natural vs. artificial 3. Learning to mix What makes a great mixing engineer? Mixing vision The skill to evaluate sounds Mastering the tools and knowledge of other common tools Theoretical knowledge Interpersonal skills The ability to work fast Methods of learning Reading about mixing Reading and hearing Seeing and hearing Doing it Mixing analysis Reference tracks Usage of reference tracks How to choose a reference track 4. The process of mixing The arrangement The recordings Mixing in the production chain Recording the whole versus recording its parts Mixing the whole versus mixing its parts Home recordings Garbage in; garbage out? Editing Sequenced music Where to start Preparations Auditioning and the rough mix The plan Technical vs. creative Which instrument? Which section? Which treatment? The iterative approach Milestones Finalizing and stabilizing the mix Mix edits Mastering Why master? Mastering delivery The loudness war DIY mastering Compensating for the lack of Mastering tools Why split the process? A/B nearly like a pro Note 5. Related issues How long does it take? Deadlocks The evaluation block The circular deadlock Breaks The danger with solos Mono listening Housekeeping 6. Mixing and the brain Dual process theory Two process types From conscious to unconscious The power of the unconscious Exercising the unconscious Warm guns Intuition The two modes of mixing Thinking without thinking Emotions Change Change and attention Change is progress Creativity 7. Mixing domains and objectives Mixing objectives Mood Balance Definition Interest Frequency domain The frequency spectrum Frequency balance and common problems The frequency domain and other objectives Level domain Levels and balance Levels and interest Levels, mood, and definition Dynamic processing Stereo domain Stereo image criteria Stereo balance Stereo image and other objectives Depth Part II: Tools 8. Monitoring How did we get here? Sound reproduction Auratones, near-fields, and full-range monitors The NS10s Going full-range Subwoofers Choosing monitors Active vs. passive Enclosure designs and specifications A choice of experience The room factor Room modes Treating room modes Flutter echo Early reflections Positioning monitors Where in the room? The equilateral triangle How far? Horizontal or vertical? Damping monitors A/B realm Headphone mixing Headphones vs. speakers: The theory The advantages The disadvantages Headphone amps Which headphones? 9. Meters Amplitude vs. level Mechanical and bar meters Peak meters Average meters Phase meters 10. Mixing consoles Buses Processors vs. effects Processors Effects Connecting processors and effects Basic signal flow Step 1: Faders, pan-pots, and cut switch Step 2: Line gains, phase-invert, and clip indicators Step 3: Onboard processors Step 4: Insert points The importance of signal flow diagrams Step 5: Auxiliary sends Step 6: FX returns Groups Control grouping VCA grouping Audio grouping Bouncing In-line consoles The recording aspects Going in-line In-line consoles and mixing The monitor section The monitor output Additional controls Solos Destructive solo Nondestructive solo Solo safe Which solo? Correct gain structure The digital console Console emulation 11. Software mixers Tracks and mixer strips Tracks Mixer strips Solos Control grouping Routing Audio grouping Sends and effects Other routing Naming buses (housekeeping tip) The internal architecture Integer notation Floating-point notation What is in it for us? Bouncing Dither Normalization The master fader The playback buffer Plugin delay compensation 12. Phase What is phase? Problems Phase problems on recorded material Phase problems during mixdown Tricks The Haas trick The out-of-speakers trick 13. Faders Types Sliding potentiometer VCA fader Digital fader Scales Working with faders Level planning The extremes-inward experiment 14. Panning How stereo works Pan controls The pan-pot The pan clock Panning laws The balance pot Types of track Mono tracks Stereo pairs Multiple mono tracks Combinations Panning techniques Panning and masking The sound stage Effect panning Beyond pan-pots Autopanners 15. Equalizers Applications Balanced frequency spectrum Shaping the presentation and timbre of instruments Separation Definition Conveying feelings and mood Creative use Interest Depth enhancements More realistic effects Stereo enhancements Fine-level adjustments Better control over dynamic processors Removing unwanted content Compensating for a bad recording The frequency spectrum Spectral content Bands and associations Sibilance Types and controls Filters, equalizers, and bands Frequency-response graphs Pass filters Shelving filters Parametric filters A summary of pass, shelving, and parametric filters Graphic equalizers Dynamic equalizers In practice Equalization and solos Upward vs. sideways Equalizers and phase The frequency yin-yang Equalization and levels The psychoacoustic effect of taking away Applications of the various shapes HPFs LPFs Shelving filters Parametric filters Equalizing various instruments Spectral components Vocals Overheads Kick Snare Toms Hi-hats and cymbals Bass Acoustic guitar Clean electric guitar Distorted guitar 16. Introduction to dynamic range processors Dynamic range Dynamics Dynamic range processors in a nutshell Transfer characteristics The function of different processors Pumping and breathing 17. Compressors The course of history The sound of compressors Principle of operation and core controls Gain Level detection and peak vs. RMS Threshold Ratio Attack and release Hold Phase inverse Additional controls Makeup gain Hard- and soft-knees Look-ahead Stereo linking External side-chain Side-chain filters and inserts Compressor meters Controls in practice Threshold Ratio The relationship between threshold and ratio Attack Release Peak vs. RMS Side-chain control Applications Accentuating the inner details of sounds Balancing levels Loudening Reshaping dynamic envelopes De-essing Making programmed music sound more natural Applying dynamic movement A compressor as a ducker Tricks Parallel compression Serial compression More on compressors Compressors, depth, and focus Setting up a compressor Multiband compression Before or after the EQ? Compressors on the mix bus Dynamic convolution compressors 18. Limiters 19. Gates Controls Threshold Hysteresis Range Attack and release Hold Look-ahead Side-chain filters Key input Output level Stereo link Meters Applications Removing noise Removing spill Reshaping dynamic envelopes In practice The problem with gates Gate alternatives: Manual gating Gate alternatives: De-noisers Tricks Manual look-ahead Kick-clicker Adding sub-bass to a kick Tighten bass to a kick 20. Expanders Controls In practice Upward expanders 21. Duckers Operation and controls Applications 22. Delays Delay basics Delay time Modulating the delay time Feedback Wet/dry mix and input/output level controls The tape as a filter Types The simple delay Modulated/feedback delay Ping-pong delay Multitap delay Phrase sampler mode In practice Delay times Panning delays Tempo-sync Filters Modulation The automated delay line Applications Add sense of space and depth Add life Natural distance Fill time gaps Fill stereo gaps Pseudo-stereo Make sounds bigger/wider As a key tool in dance music 23. Other modulation tools Vibrato ADT Chorus Flanging Phasing Tremolo 24. Reverbs What is reverb? Applications Simulating natural, or creating imaginary, ambiance Gel the instruments in the mix Increase the distinction of instruments Depth Enhance a mood Livening sounds Filling time gaps Filling the stereo panorama Changing the timbre of instruments Reconstruct decays and natural ambiance Resolve masking More realistic stereo localization A distinctive effect Impair a mix Types Stereo pair in a room Reverb chambers (echo chambers) Spring reverb Plate reverb Digital emulators Convolution (sampling) reverbs Reverb programs Reverb properties and parameters Direct sound Pre-delay Early reflections (ERs) Reverberation (late reflections) Pure reflections Reverb ratios and depth Decay time Room size Density Diffusion Frequencies and damping Reverbs and stereo Mono reverbs Stereo reverbs and true stereo reverbs Panning stereo reverbs Other reverb types Fixed-source reverb emulators Movable source reverb emulators Gated and nonlinear reverbs Reverse reverbs and preverb Reverbs in practice Reverb quantity and allocation Aux send or insert? Pre- or post-fader? Pre-compressor reverb send How loud? How much? Tuning ambiance Delay and reverb coupling Reverb coupling 25. Distortion Background Distortion basics Harmonic distortion and inter-modulation The problem with distortion in the digital domain Parallel distortion Ways to generate distortion Gain controls Digital clipping Short attack and release on dynamic range processors Wave shapers Bit reduction Amp simulators Dedicated units or plugins 26. Drum triggering Methods of drum triggering Delay units with sample and hold Drum module triggers Footswitch on a synchronizer Drum replacement plugins Audio to MIDI Manually pasting samples onto a track 27. Other tools MS Background MS and LR conversion Applications of MS Pitch shifters and harmonizers Exciters and enhancers Transient designers 28. Automation Automation engines The automation process Performing vs. drawing Performing automation Automation modes Automation alternatives Duplicates Fades Control surfaces Part III: Sample mixers 29. "Show Me" (rock 'n' roll) Drums Overheads Overheads (duplicate) Kick Snare Hi-hats Tom 1 Tom 2 Toms 1 and 2 (tom runs) Bass Rhythm guitar Lead guitar Normal lead Lead slides Lead solo Lead accents Feedbacks Vocal Verse one vocal Bridge vocal Chorus vocal Verse two vocal 30. "It's Temps Pt. II" (hip-hop/urban/grime) Beat Main kick Second and bat kick Main snare Second snare Claps Hi-hats Wood Broken bells Cajon Beat group Break beat Bass Main bass Bass support Other tracks Steel drums Gtr Pizz French horns Big stack Dist Bells LPTwin Trumpet 1 Trumpet 2 Screamin B4 Analog King Imposcar Vocals Vocals reverb vIntro1 vIntro2 vIntro3 vVerseLead vVerse1 vVerse2 vKsh vChorusLead vChs1 vChs2 vAns1 and vAns2 vAns3 and vAns4 vTemps1 and vTemps2 vBreak1 and vBreak2 vFX vOutro and vOutroDelay Vocals group 31. "Donna Pomini" (techno) Ambiance reverb Beat Main kick Pillow kick One-hit snare LiSnare 1 SnareB Claps LiMidSnare LiSnare 2 Kick 2 Kick WoodKnock Main Snare Rvs Snare Straight Snare Whip Snare March Snare Main hats Hats 2 Hats 4 hits Hats Backbeat Crash 1, Crash 2, and Crash 3 WoodZest PaperLoop Bat Zips, Bat Zaps, Bat Hit1, Bat Hit2, Bat Hit3, Bat Iron, and Bat Wiper Beat Group Sound FX Splutter Laser Gun ChemiWind FallBall SciFi Waves Bass JoviBass ZugBass ZugBassR Vocal Vox Other elements Gidi FM Wacko Wacko Filtered Wacko Support Drops Drops Noise SinSeqRoot, SinSeq3rd, SinSeq5th SinSeq group LeadSeq LoFi Saw Straight Bass Straight Beep Leadar OceanPad OceanSup LowHarm, HighHarm ContraWaves 32. "The Hustle" (DnB) Ambiance reverb Drums Attack Kick Dirt Kick Kick triggers Thump Kick Snare Sub Snare Pend Snare Hi Hats Comp Break Tamb Break Beat Hip Hop Beat Hip Hop Beat distorted layer Claps Half Time Bongos 1 and Bongos 2 Pen Drums Crash Beat group Motif elements Sick as Funk Bass Focus Bass Dina Worm Lead group Hemorrhage Jumpy Sick Warble Pads Atoms 1 Atoms 2 Korg 174 Horns and brass Curtis Rev Horns Hip Hornz 2 Hip Hornz 3 Curtis Verb Risers Riser and Reversed Rise Bent Phase Hi Synth ES2 Rise Sine Rise Strings Curtis Strings Strings Finale 33. "Hero" (rock) Drums Overheads Kick Snare top Snare bottom Snare triggers Hi-hats Ride Toms Tom triggers Tambourine Bass Main bass Break bass Bass FX Rhythm guitar Intro/break rhythm guitar Main rhythm guitar Support rhythm guitar Distorted guitars Curtain guitars Power guitars Distorted guitar group Lead guitar Lead guitar Lead guitar FX Vocals Lead vocal Vocal FX Fake second voice Real second voice Ahh BV Break BV Appendix A. The science of bouncing Bouncing issues Appendix B. Notes-to-frequencies chart Appendix C. Delay time chart Simple note values Triplets Dotted notes Index Mixing remains one of the most illusive arts of recording practice and can take a life time to master. Looking at practices, concepts, tools and mixing instruments the author provides a comprehensive insight to the art and science of mixing. Whether a hobbyist of professional this book covers basic concepts to advanced techniques as well as tips and tricks and is a vital read for anyone wanting to succeed in the field of mixing. The book is accompanied by the website www.mixingaudio.com, featuring a sample chapter, illustrations, audio and a user forum. * Ro.