In Mixing with Impact: Learning to Make Musical Choices, Wessel Oltheten discusses the creative and technical concepts behind making a mix. Whether youâ re 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.
In Mixing with Impact: Learning to Make Musical Choices, Wessel Oltheten discusses the creative and technical concepts behind making a mix. Whether youâ re 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.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Wessel Oltheten has been recording and mixing music since his teens, which has led to a successful studio business with a very diverse clientele. To hear some of his work you can visit www.wesseloltheten.nl. For extra articles and a video course accompanying this book, visit www.mixingwithimpact.com.
Inhaltsangabe
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
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
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