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
