TABLE OF CONTENTS
Preface
Meet The Mixers
PART 1
Chapter 1: Some Background
The Evolution of Mixing
Different Mixing Styles
The New York Style
The LA Style
The London Style
The Nashville Style
Other Styles
12 Ways Studio Mixing Is Different From Live Mixing
Learning How To Mix
Chapter 2: Monitoring
The Listening Environment
Overcoming Acoustic Problems
Monitors - Which Ones?
Basic Monitor Setup
3 Steps To Adding A Subwoofer
Mixing On Headphones
How Loud (Or Soft) Should I Listen?
Listening Techniques
Listening On Multiple Monitors
Listening In Mono
Chapter 3: Mix Preparation
Prepping Your Session
Make A Session File Copy
Tweak The Track Timing
Check The Fades
Eliminate Noises
Comp Your Tracks
Tune Your Tracks
Arrange Your Tracks
Make Your Decisions
Insert Section Markers
Create Groups And Subgroups
Create Effects Channels
Insert Compressors And Limiters
Personal Preparation
Calibrate Your Hearing
Get Your LIstening Reference Point
Prepare For Note Taking
Make Yourself Comfortable
Take Frequent Breaks
Stay Focused On The Mix
Chapter 4: The Mechanics of Mixing
Conceptualizing The Mix
The Overall Approach
Tall, Deep and Wide
The Signs Of An Amateur Mix
The 6 Elements of a Mix
The Intangibles of a Mix
The Arrangement
The Performances
The Point Of Interest
Chapter 5: The Balance Element: The Mixing Part of Mixing
The Arrangement - Where It All Begins
Tension And Release
Conflicting Instruments
Arrangement Elements
Arrangement Examples
Rules for Arrangements
Where to Build the Mix From
What’s The Genre?
Level Setting Methods
Chapter 6: The Panorama Element: Placing the Sound in the Soundfield
The Stereo Picture
The Phantom Center
The Big 3
Big Mono
Panning Outside The Speakers
Beyond Panning For Placement
Panning In Surround Sound
A Bit Of History
The LFE Channel
Surround Sound Formats
Differences Between Surround For Picture And For Music
Surround Mixing Schools Of Thought
What Do I Put In The Center Channel?
What Do I Send To The LFE Channel?
Chapter 7: The Frequency Element: Using The Equalizer
The Goals Of Equalization
The Frequency Bands And What They Do
EQ Methods
Method One: Equalize For Definition
Method Two: Equalize For Size
Method Three: Juggling Frequencies
Finding An Offending Frequency
The Magic High-Pass Filter
The Magic Frequencies
The Relationship Between The Bass And Drums
EQ Techniques
Chapter 8: The Dimension Element - Adding Effects
The 6 Principles For Adding Effects
Using Delays
Types of Delays
Timing Delays to The Track
Setting Repeats
Typical Delay Setups
Delay Techniques
Using Reverb
Types of Reverb
Timing Reverbs To The Track
Typical Reverb Setups
De-Reverberation
Reverb Techniques
Using Modulation
Types Of Modulation
Typical Modulation Setups
Modulation Techniques
EQing Effects
On Vocals
On Instruments
On Drums
Layering Effects
Reamping
Chapter 9: The Dynamics Element: Compression and Gating
Types Of Dynamics Control
Compression
Limiting
De-essing
Gating
Using Compression
Controlling Dynamics
Compression As An Effect
Placement In The Signal Chain
Setting The Compressor
What’s The Right Amount Of Compression?
Parallel Compression
Compression on Individual Instruments
A Drum Compression Primer
Compressing Vocals
Compressing Loops
Compression on the Mix Buss
Compression Techniques
Using A De-esser
Using A Gate
Gating Techniques
Chapter 10: The Interest Element - The Key To Great Mixes
The Direction of the Song
Develop The Groove
Finding The Groove
Building The Groove
Find The Most Important Element And Emphasize It
15 Steps To A Better Mix
Chapter 11: Advanced Techniques
Cleanup
Removing Noise
Removing Clicks And Pops
Removing Count-Offs
Fixing Bad Fades
Eliminating Unwanted Distortion
Deleting Extra MIDI Notes
Adjust The Timing
Pitch Correction
Pitch Correction Techniques
Sound Replacement
Keeping The Sound Natural
Sound Replacement Techniques
Automation
Fader Automation
Drawing The Automation
Using Automation To Add Dynamics
Automation Techniques
Gain Staging
Subgroups
Headroom
Chapter 12: The Master Mix
8 Indicators That Your Mix Is Finished
Competitive Level
Hypercompression
Tips For Hot Levels
Mastering
Why Do I Have To Master Anyway?
Things To Remember Before Mastering
Mixing Internet Distribution
MP3 Encoding
Mastered For iTunes
Alternative Mixes
Different Types Of Alternative Mixes
Stems
PART 2 - The Interviews
Chapter 13: Bob Brockman
Chapter 14: Bob Bullock
Chapter 15: Joe Chiccarelli
Chapter 16: Lee DeCarlo
Chapter 17: Jimmy Douglass
Chapter 18: Benny Faconne
Chapter 19: JerryFinn
Chapter 20: Jon Gass
Chapter 21: Don Hahn
Chapter 22: Andy Johns
Chapter 23: Bernie Kirsh
Chapter 24: Nathanial Kunkel
Chapter 25: George Massenburg
Chapter 26: Greg Penny
Chapter 27: David Pensado
Chapter 28: Elliot Scheiner
Chapter 29: Andrew Scheps
Chapter 30: Ken Scott
Chapter 31: Ed Seay
Chapter 32: Allen Sides
Chapter 33: Don Smith
Chapter 34: Ed Stasium
Chapter 35: Bruce Swedien
GLOSSARY
ADDENDUM 1 - DELAY TIME CHART
INDEX
“Just a note to let you know how much I have been enjoying your book. It's really great. I think it is going to make me a better mixer. Thanks again for getting it to me.”
Ed Cherney
Award-winning, multi-platinum engineer and mixer
I doubt anything could seriously beat Bobby Owsinski's sweet bible ... which turned me into a mixing-fanatic ...
Philip
Copyright © 2012 Bobby Owsinski Media
Author - Producer
Music and Technology Advisor
