Coverart for item
The Resource MIXING WITH IMPACT : learning to make musical choices

MIXING WITH IMPACT : learning to make musical choices

Label
MIXING WITH IMPACT : learning to make musical choices
Title
MIXING WITH IMPACT
Title remainder
learning to make musical choices
Creator
Subject
Language
  • eng
  • dut
  • eng
Summary
"In Mixing with Impact: Learning to Make Musical Choices, Wessel Oltheten discusses the creative and technical concepts behind making a mix. Whether youre 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. The same goes for the questions you run into: where do you start? How do you deal with a context in which all the different parts affect each other? How do you avoid getting lost in technique? How do you direct your audiences attention? Why doesnt your mix sound as good as someone elses? How do you maintain your objectivity when you hear the same song a hundred times? How do your speakers affect your perception? Whats the difference between one compressor and another?Following a clear structure, this book covers these and many other questions, bringing you closer and closer to answering the most important question of all: how do you tell a story with sound?"--Provided by publisher
Cataloging source
YDX
http://library.link/vocab/creatorName
OLTHETEN, WESSEL
Dewey number
781.3/4
Index
no index present
LC call number
ML3790
LC item number
.O49 2019
Literary form
non fiction
Nature of contents
dictionaries
http://library.link/vocab/subjectName
  • Sound recordings
  • Popular music
  • MUSIC / Instruction & Study / Theory
  • Sound
Label
MIXING WITH IMPACT : learning to make musical choices
Instantiates
Publication
Bibliography note
Includes bibliographical references and index
Carrier category
online resource
Carrier category code
  • cr
Carrier MARC source
rdacarrier
Content category
text
Content type code
  • txt
Content type MARC source
rdacontent
Contents
  • Cover; Half Title; Title Page; Copyright Page; Table of Contents; Acknowledgments; Preface; Travel Guide for This Book; 1 The World of Mixing: About the Profession of This Book; 1.1 Who Is the Mixer?; 1.2 Why Is Mixing Necessary?; 1.3 What Is the Challenge?; 1.4 On Rules; 2 Listening: Everything Is Relative; 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; 3 Laying the Foundation: Creating a Starting Position; 3.1 Before You Start; 3.2 Foundation; 3.3 Balance; 3.4 Panning
  • 3.5 Mute Is Your Friend4 The Frequency Spectrum: No Light without Darkness; 4.1 Association Is Key; 4.2 Masking; 4.3 The Goal of EQ; 4.4 EQ Compass; 5 Dynamics: Without Soft There Is No Loud; 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; 6 Space: There's More Room Than You Think; 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; 7 Time and Phase: It's All About the Sum of the Parts
  • 7.1 Interaction7.2 Combining Microphones Hierarchically; 7.3 Combining Microphones Non-hierarchically; 7.4 Phase Manipulation; 8 Identity: A Unique Sound; 8.1 Innovation, Imitation and Inspiration; 8.2 Shaping Identity; 9 Effects: Craziness with a Purpose; 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 Mix9.5 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; 10 Automation: Performing the Mix; 10.1 Faders for Each Function; 10.2 Parallel Constructions; 10.3 Change and Conquer; 10.4 Expressivity; 11 Advanced Techniques: Exploring the Boundaries; 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 Panning12 Bus Compression: The Sum of the Parts; 12.1 Influence; 12.2 Choices and Settings; 12.3 Multibus Setups: Painting on a Colored Canvas; 13 Templates: Working Faster Means a Better Mix; 13.1 Time Is Money; 13.2 Building Templates; 13.3 Integrating Equipment in the 21st Century; 14 Preparing for Mastering: A Good Relationship; 14.1 Communication; 14.2 What Is a Good Mix?; 14.3 Mix Bus Processing; 14.4 Stems; 14.5 Consequences of Loudness Normalization; 15 Mindset: A Competition Against Yourself; 15.1 Doubt Is Fatal for a Mix
Control code
1031110682
Dimensions
unknown
Extent
1 online resource
Form of item
online
Governing access note
Owing to Legal Deposit regulations this resource may only be accessed from within National Library of Scotland on library computers. For more information contact enquiries@nls.uk.
Isbn
9781315113173
Media category
computer
Media MARC source
rdamedia
Media type code
  • c
http://library.link/vocab/ext/overdrive/overdriveId
9781351624237
Specific material designation
remote
System control number
(OCoLC)1031110682
Label
MIXING WITH IMPACT : learning to make musical choices
Publication
Bibliography note
Includes bibliographical references and index
Carrier category
online resource
Carrier category code
  • cr
Carrier MARC source
rdacarrier
Content category
text
Content type code
  • txt
Content type MARC source
rdacontent
Contents
  • Cover; Half Title; Title Page; Copyright Page; Table of Contents; Acknowledgments; Preface; Travel Guide for This Book; 1 The World of Mixing: About the Profession of This Book; 1.1 Who Is the Mixer?; 1.2 Why Is Mixing Necessary?; 1.3 What Is the Challenge?; 1.4 On Rules; 2 Listening: Everything Is Relative; 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; 3 Laying the Foundation: Creating a Starting Position; 3.1 Before You Start; 3.2 Foundation; 3.3 Balance; 3.4 Panning
  • 3.5 Mute Is Your Friend4 The Frequency Spectrum: No Light without Darkness; 4.1 Association Is Key; 4.2 Masking; 4.3 The Goal of EQ; 4.4 EQ Compass; 5 Dynamics: Without Soft There Is No Loud; 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; 6 Space: There's More Room Than You Think; 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; 7 Time and Phase: It's All About the Sum of the Parts
  • 7.1 Interaction7.2 Combining Microphones Hierarchically; 7.3 Combining Microphones Non-hierarchically; 7.4 Phase Manipulation; 8 Identity: A Unique Sound; 8.1 Innovation, Imitation and Inspiration; 8.2 Shaping Identity; 9 Effects: Craziness with a Purpose; 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 Mix9.5 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; 10 Automation: Performing the Mix; 10.1 Faders for Each Function; 10.2 Parallel Constructions; 10.3 Change and Conquer; 10.4 Expressivity; 11 Advanced Techniques: Exploring the Boundaries; 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 Panning12 Bus Compression: The Sum of the Parts; 12.1 Influence; 12.2 Choices and Settings; 12.3 Multibus Setups: Painting on a Colored Canvas; 13 Templates: Working Faster Means a Better Mix; 13.1 Time Is Money; 13.2 Building Templates; 13.3 Integrating Equipment in the 21st Century; 14 Preparing for Mastering: A Good Relationship; 14.1 Communication; 14.2 What Is a Good Mix?; 14.3 Mix Bus Processing; 14.4 Stems; 14.5 Consequences of Loudness Normalization; 15 Mindset: A Competition Against Yourself; 15.1 Doubt Is Fatal for a Mix
Control code
1031110682
Dimensions
unknown
Extent
1 online resource
Form of item
online
Governing access note
Owing to Legal Deposit regulations this resource may only be accessed from within National Library of Scotland on library computers. For more information contact enquiries@nls.uk.
Isbn
9781315113173
Media category
computer
Media MARC source
rdamedia
Media type code
  • c
http://library.link/vocab/ext/overdrive/overdriveId
9781351624237
Specific material designation
remote
System control number
(OCoLC)1031110682

Library Locations

    • Ellis LibraryBorrow it
      1020 Lowry Street, Columbia, MO, 65201, US
      38.944491 -92.326012
    • Engineering Library & Technology CommonsBorrow it
      W2001 Lafferre Hall, Columbia, MO, 65211, US
      38.946102 -92.330125
Processing Feedback ...