Index

absorbers 95, 96

acoustic guitars 262–3, 322, 396

active speakers 90, 95

ADT (artificial or automatic double-tracking) 399

Alge, T.L. 10

algorithmic reverbs 415, 416, 417, 418

ambiance reverbs 200, 207, 406–7, 409, 448

amplifiers 89–90

amplitude 105–6, 157, 177, 183, 404, 428

amp simulators 457, 458

analog consoles 52, 111, 116, 117, 148, 184, 274, 479

arrangements 30–1, 32–3, 42

artificial doubletracking see ADT

artificial sound 18–19

attack: compressors 283–9, 303–7, 309, 316, 317, 330, 355; expanders 368–9, 370; gates 344–8, 355, 370

audio grouping 129–33, 143, 154

audio sequencers 149, 151–2, 153–6, 157–66, 168–9, 357, 360, 448; automation 474, 475, 476–7

audio signals 105–6, 120

auditioning 35

Auratones 86–7

automatic double-tracking see ADT

automation 39, 68, 474–81

autopanners 208–9

auxiliary buses 121, 122, 123

auxiliary sends 114, 121, 122, 123, 155, 156, 423, 445

aux returns see FX returns

average meters 107–9

balanced mix 11, 15–16, 47–8, 67, 69–74, 77–8, 94, 206–7, 210–12

balance pot 198, 199

bar meters 107, 109

bass equalization 261–2

Beethoven, L. van 7, 68, 79

binaural sound 190–1

bit reduction 456–7

bouncing 40, 133, 162, 446, 547–52

breathing 272, 273

brick-wall filter 221, 222

bus compression 334–5

buses 112, 114, 121, 122, 123, 149, 157, 334–5

change 62–3, 68

chattering 341, 342, 349

choruses 400, 401, 430

circular deadlocks 41

clip indicators 107, 116, 117, 160, 161–2

clipping 215, 338, 454–5

clipping distortion 158, 159–61, 454–5

closed-back headphones 103

cocktail party effect 62

coincident pairs 201

comb filtering 43, 97, 384

component tracks 37–8

compression-related equalization 333–4

compressor meters 296–8

compressors 1, 20, 114, 267, 271, 274–8, 290, 314–16, 322–4, 329–36; attack 283–9, 303–7, 309, 316, 317, 330, 355; decay 319, 321; dynamic envelope 276, 287, 304, 318–20; gain stage 278–80, 290, 295; hard-knees 291–3; hold 289, 303–6, 316, 317; look-ahead 293–4; loudening 317–18; makeup gain 291, 316, 317; phase 290; ratios 282–3, 284, 301–2, 303, 315–16, 317, 330; release 283–9, 307–11, 316, 317, 330, 355; RMS 280, 311–12; side-chains 276, 293, 294, 295, 296, 312–14, 316, 317; signal levels 280, 315, 316, 317; soft-knees 292–3, 316, 317; stereo link 294–5; threshold 280–2, 284, 298–301, 302, 303, 315, 317, 330

computers 1, 2, 7, 146, 149

conscious process 53, 54, 55–7, 59

consoles 111–19, 120–1, 122–4, 126–8, 134–5, 140–4, 479–81; analog 52, 111, 116, 117, 148, 184, 274, 479; digital 111, 146–8, 157–8; groups 125, 129–33; in-line 134, 135–6, 137 see also monitors

control grouping 124, 129, 133, 134, 153–4

convolution reverbs 335, 417–18, 440–1, 449–50

correct gain structure 144–6

Costey, R. 13

coupled reverbs 448–50

creative tasks 36, 37

creativity 61, 64–5

crossover frequencies 70, 85, 86

Csikszentmihaly, M. 57

Cubase (Steinberg) 149, 151, 156, 163, 358; bouncing 164, 167; clipping distortion 160; pan pots 193, 194

cymbals 255, 256, 260, 313

damping 432, 433

dance music 397

DAWs 1, 10, 23, 31, 474

deadlocks 41

decay 309, 354, 409, 441–2; compressors 319, 321; gates 345, 348, 354

decay time 420, 429–31

decouplers 99

de-essers 322

definition 67, 71, 75, 211

delay line 380, 394, 395, 398

delays 238, 240, 381–4, 385–93, 394, 395–7, 448; plugins 169, 218, 240

delay time charts 554–64; simple note values 554–7; triplets 558–64

delay times 47, 177, 179, 381–3, 384, 386, 387, 390–1, 393

de-noisers 358, 359

depth 79–81, 395, 407–8, 426

destructive solo 141, 143, 144, 152, 446

diffusion 95, 432

digital compressors 278, 280, 293

digital consoles 111, 146–8, 157–8

digital delays 386–90

digital distortion 162–5

digital equalizers 210, 218, 240–2

digital faders 184

Digital Performer (MOTU) 149, 150, 154, 168, 171, 463; automation 476; clipping distortion 160; pan pots 193; parallel compression 325

digital reverb emulators 414–15, 416, 417, 419–21, 422, 433, 438, 439–40

digital reverbs 414–15, 416, 417

digital systems 106, 107, 157–8

dipole design 90

direct sound 94–5, 96, 422–3, 428–9

distorted guitars 264–5, 379

distortion 70, 89, 116, 451–3, 454–5, 456–7, 459

dither 162–5

“Donna Pomini” sample mix 506–18

dreaming 60–1

drum mixing 38

drum triggering 151, 460–4

dry signals 113, 155, 385, 422, 426

dry-wet approach 39

dual process theory 53–5, 59, 64

duckers 272, 323–4, 375–80, 468

duplicates 137, 324, 359, 360, 478

dynamic convolution compressors 335–6

dynamic envelope 268, 301, 304; compressors 276, 287, 304, 318–20; gates 354–5

dynamic equalizers 236–7

dynamic range 158, 266–8

dynamic range processors 116, 148, 213, 266, 267–8, 269–72, 455–7

dynamics 268, 274, 275, 276

early reflections 96, 395, 423, 425–7, 431, 439

echo chambers see reverb chambers

echoes 95–6, 383–4, 394

economics 63, 64

edits 33–4, 50

effects 112, 113, 114, 125, 128, 156, 207

electric guitars 263, 264

emotions 7–8, 61–2, 211

enhancers 70, 470–1

equalization 2, 210, 218, 220, 235, 237–9, 253, 333–4, 432–4; bass 261–2; cymbals 260, 261; filters 246–53; guitars 262–5; hi-hats 260; kicks 255, 257–8; overheads 255–6, 257; room modes 94–5; signal levels 244–5; snares 255, 258, 259; toms 259, 260; vocals 40–1, 253–4, 255

equalizers 1, 112, 145, 146, 174, 210–14, 220, 221–9, 237–8; digital 210, 218, 240–2; dynamic 236–7; graphic 218, 234–5; linear phase 240–2; parametric 21, 218, 230–4, 235, 240, 241

equal-loudness contours 14

evaluations 22, 41

excerpt set 11, 12, 27

exciters 470–1

expanders 271, 366–74

external side-chains 295

extra-gain dead-end 187, 188, 189

extremes-inward experiment 189

faders 183–9, 218, 445–6

fades 52, 166, 286, 358, 446–7, 479

feedback 383–4

film students 25–6

filters 210, 212, 218, 221–9, 230–4, 246–53, 394; HPF 214, 222, 246–8, 313, 314, 394; LPF 222, 249–50, 394; parametric 218, 220, 227, 230–3, 234, 246, 251–3; shelving 218, 220, 227–9, 234, 246, 250, 251, 256

fixed-source emulators 438–40

flanging 381, 394, 401, 402

Fletcher, H. 14

Fletcher–Munson curves 14, 15

floating-point notation 158, 159–60

flow theory 57–8

flutter echoes 95–6

Freegard, M. 10

frequencies 69–73, 85–6, 91, 92–3, 214, 215–17, 219, 432–4

frequencies charts 553

frequency balance 69–73, 77, 206, 210–12

frequency response 28, 43, 86, 91, 93, 97, 99, 210–11, 226

frequency-response graphs 69, 91, 92, 221, 222, 226

frequency spectrum 31, 50, 69, 71–2, 85–6, 91, 214, 216–17

frequency yin-yang 243–4, 245

full-range monitors 88, 89, 363

FX returns 124, 125

gain controls 454

gain plugins 155, 156, 166, 478

gain reduction 296, 297, 298, 310

gain stage 144, 145, 275, 276, 278–80, 290, 295

gain structure 144–6

gated reverbs 441–2

gates 213, 272, 308, 324, 339–49, 350–4, 356–7; attack 344–8, 355, 370; decay 345, 348, 354; dynamic envelope 354–5; hold 348–9; key input 350–1; kicks 360–1, 362, 363–5; look-ahead 350, 359; noise 339, 352; range 343–4; release 344–8, 355, 370; side-chains 348, 350; spill 352, 353–4; threshold 340–2, 343, 355, 356

Godrich, N. 33

graphic equalizers 218, 234–5

grouping see control grouping

groups 125, 129–33

guitars: acoustic 262–3, 322, 396; distorted 264–5, 379; electric 263, 264

Haas trick 47, 172, 174–9, 397

hard-knees 291–3

harmonic distortion 452

harmonizers 470

headphone amps 103

headphone mixing 44, 100–4

“Hero” sample mix 48, 49, 71, 75, 461, 533–46

high frequencies 3, 15, 40, 69, 72, 94, 99, 181, 212, 433–4 see also Nyquist frequency

hi-hats 260

hold: compressors 289, 303–6, 316, 317; gates 348–9

The Holy Bible, Manic Street Preachers 10

home studios 43, 44, 45

housekeeping 48, 50

HPF (high-pass filters) 214, 222, 246–8, 313, 314, 394

“The Hustle” sample mix 475, 519–32

hysteresis 341–2

Icon D-Control (Digidesign) 479, 480

I-mixes 77, 78

in-line consoles 134, 135–6, 137

in-line groups 130, 131–3

insert points 114, 117, 118, 119, 148

integer notation 157–8

interest 68–9, 73, 79, 212

inter-modulation 215, 452

interpersonal skills 24

intuition 58–9

iterative coarse-to-fine approach 40, 41

“It’s Temps Pt. II” sample mix 492–505

jazz 18

Kahneman, D. 54, 64

key input 350–1

kick-clicker 360–1

kicks: compressors 313; equalization 255, 257–8; gates 360–1, 362, 363–5

knowledge 23, 24–5

late reflections see reverberation

level balance 73–4, 206

level changes 74–5

levels of processing 56–7, 73–5

limiters 167, 271, 275, 300, 337–8

linear phase equalizers 240–2

line-gain controls 114, 115–16

listening position 42–4, 51, 94, 95, 96, 97, 99, 191

live recordings 9

Logic (Apple) 149, 152, 153, 156, 199, 362, 389; clipping distortion 160; MIDI data 463; pan pots 193, 194

look-ahead 293–4, 350, 359–60

loud levels 3, 14–16, 317–18

low frequencies 15, 69, 70, 72–3, 85, 91, 181, 205, 212; reverbs 433, 434; room modes 94, 95

LPF (low-pass filter) 222, 249–50, 394

macromixing 66

makeup gain 291, 316, 317

manual gating 357–8

manual look-ahead 359–60

masking 16, 32, 39, 71, 204, 410, 411, 430

master faders 166, 167

master groups 130–1

mastering 50–2

mastering engineers 23, 50–1, 52

Meek, J. 276–7

meters 105, 106, 107–10, 189, 280, 296–8, 351

micromixing 66

MIDI data 151, 387, 462, 463

mixer strips 149, 151–2, 153

mix importance 17

mixing 1–3, 7, 8, 11, 20, 24–5, 26–9, 34

mixing analysis 26–7

mixing-by-intuition 59, 60

mixing-by-reason 59, 60

mixing engineers 3, 8, 9–11, 20, 22, 24, 45–6, 51; knowledge 23, 24–5; mixing vision 21–2, 24, 25; novice 21, 22, 45, 46, 275; tools 21, 22–3, 25

mixing objectives 66–9, 71–2, 73, 75

mixing plan 35–6

mixing process 34–40, 41–4, 45, 46, 100

mixing vision 21–2, 24, 25

modulated/feedback delay 386–8

modulation 394

monitors 85–6, 89–91, 100, 138–9, 140; Auratones 86–7; decouplers 99; full-range 88, 89, 363; near-field 87, 88, 89; positioning 96–7, 98–9; subwoofer 89, 201, 363; Yamaha NS10s 87–8

monopole designs 90

mono reverbs 410, 434–5, 436

mono tracks 47–8, 175, 200, 202–3

moods 8, 67, 71–2, 79, 408

moveable source reverb emulators 440–1

MS (mid-side or mono/stereo) 465–6, 467, 468

multiband compressors 327, 331–3, 379

multitap delays 389–90

multitrack recorders 1, 8, 111, 115, 117, 474

Munson, W.A. 14

music 1, 2–3, 7–8, 30–1, 32, 34, 361, 397

natural sound 18–19

near-coincident pairs 201

near-field monitors 87, 88, 89

Nevermind, Nirvana 9, 10, 45

noise 339, 352, 358

nondestructive solo 140, 141–2, 143–4, 152

nonlinear reverbs 441–2

normalization 165–6

novice engineers 21, 22, 45, 46, 275

Nyquist frequency 215, 452, 453

open-back headphones 103–4

out-of-speakers trick 180–2, 468

output level 351

overheads 468; compressors 313; equalization 255–6, 257

pan clock 193, 194

pan laws 194–7

panning 30, 46, 79, 102, 192–7, 204–7

panning delays 391–2

pan pots 102, 114, 121, 130, 192–7, 198, 204–5, 212

paragraphic plugins 219

parallel compression 114, 137, 324–7

parallel distortion 453

parametric equalizers 21, 218, 230–4, 235, 240, 241

parametric filters 218, 220, 227, 230–3, 234, 246, 251–3

pass filters 27, 218, 222–7, 233, 246, 250; HPF 214, 222, 246–8, 313, 314, 394; LPF 222, 249–50, 394

passive speakers 89, 103

pattern recognition 62

peak meters 105, 107, 108, 280

percussive instruments 15

phase 170–2, 174, 238, 240, 290; Haas trick 47, 172, 174–9, 397; out-of-speakers trick 180–2, 468

phase inversions 171, 174

phase-invert switch 114, 116, 129, 174

phase meters 109–10

phasers 403, 404

phase shift 170, 171, 173, 240

phon curve 14

phrase sampler 390

ping-pong delays 388, 468

pitch shifters 469

plate reverbs 413–14

playback buffer 168–9

plugins 1, 23, 48, 149, 224, 387, 416; delays 169, 218, 240; distortion 453, 459; dither 162, 165; drum triggering 462; gain 155, 156, 166, 478; paragraphic 219; reverbs 444

post-reverb equalization 433–4

powered speakers 89–90

pre-compressor equalizers 334

pre-delay time 413, 423–4, 430

pre-reverb equalization 432–3

preverb 443

processors 112, 114, 117

professional studios 1, 24, 45–6

Pro Tools (Avid) 149, 152, 157, 159, 166, 359;

auxiliary sends 155; clipping distortion 160, 161; dither 165; drum triggering 464; faders 186; pan pots 193, 196, 199

pseudo-stereo 202, 396

psychoacoustics 14, 34, 245–6

pumping 272, 273, 283, 326

pure reflections 427–8

range 158, 266–8, 343–4

ratios 282–3, 284, 301–2, 303, 315–16, 317, 330, 367

raw tracks 35, 41–2, 125, 172, 200–3

record companies 9, 18

recorded music 30–1, 32

reference tracks 27–9

reflections 16, 43, 94, 95, 96

release: compressors 283–9, 307–11, 316, 317, 330, 355; expanders 368–9, 370; gates 344–8, 355, 370

resonance 99, 226

resonant frequencies 214

reverb chambers 411–12

reverb emulators 22, 200, 212, 247, 395, 406, 422, 432–3, 438–42

reverberation 427, 428–9, 431

reverbs 1, 20, 247, 395, 397, 406–15, 416–21, 422–31, 434–43, 444–50

reversed reverbs 443

RMS (root mean square) 107, 280, 311–12

Robinson–Dadson contours 14

room acoustics 90, 92–6, 102

room modes 43, 92–3, 94–5, 97

room size 420, 429, 431

rough mix (monitor mix) 35

routing matrices 130, 131, 133

section mixing 38–9

semi-open headphones 104

separation 66, 71, 207, 211

sequenced music 30, 31, 34, 361

serial compression 328

shelving filters 218, 220, 227–9, 234, 246, 250, 251, 256

“Show Me” sample mix 485–91

sibilance 51, 217–18, 322

side-chains 275, 296; compressors 276, 293, 294, 295, 296, 312–14, 316, 317; gates 348, 350

signal flow 114–19, 120, 121, 125, 129–33

signal flow diagrams 114, 115, 116, 118, 119, 120, 122, 123, 126, 153

signal levels 101, 106, 107–10, 280; compressors 280, 315, 316, 317; equalization 244–5

similar waveforms 170–2

simple delays 386

simple note values 554–7

sliding potentiometer 183, 184

“Smells Like Teen Spirit”, Nirvana 9–10, 19, 26, 74, 79

snare reverbs 207, 430

snares 255, 258, 259

soft-knees 292–3, 316, 317

software mixers 149, 154

solo modes 140–4

solos 46–7, 152

solo safe 142–3

sonic quality 2, 8–9

sound exposure see loud levels

source reverbs see moveable source reverb emulators

spaced pairs 201

spill 213, 352, 353–4

spring reverbs 200, 412–13

standing waves 92–3, 95

stereo 190–1, 192–7, 198, 199

stereo balance 77–8, 206–7

stereo effects 76, 77, 202, 206, 207

stereo frequency imbalance 77

stereo gaps 396

stereo image 76, 79, 96, 97, 98, 139, 202–3

stereo link 294–5, 351

stereo pair tracks 131, 200–1, 203, 396, 411

stereo reverbs 409, 410, 435, 436–7

stereo spread imbalance 77–8

strip silence 357–8

studio loudspeakers see monitors

studio recordings 9, 17–18

sub-bass 217, 361, 362, 363–4

subwoofer 89, 201, 363

sweet spot see listening position

synchronizers 462

tape-trim see line-gain controls

technical tasks 36–7

tempo-sync 387, 390, 392–3

threshold: compressors 280–2, 284, 298–301, 302, 303, 315, 317, 330; gates 340–2, 343, 355, 356

time gaps 170, 172, 396, 408, 423–4

toms 259, 260

tonal balance see frequency balance

tools 21, 22–3, 25

transient designers (transient enhancers) 472–3

treatment order 39–41

tremolo 404–5

triplets 558–64

Tversky, A. 64

ultracompression 274

unconscious process 8, 53, 54, 55, 56–7, 59

upward expanders 271, 372–4

VCA (voltage-controlled amplifier) 183, 280

VCA faders 183–4, 185, 276

VCA groups 124, 129

vibrato 398

Vig, B. 9–10

V-mixes 78

vocals: compressors 310, 313–14; equalization 40–1, 253–4, 255

VU meters 105, 107, 108, 109, 189

Wallace, A. 9–10, 33

waveforms 74, 85, 157–8, 166, 170–2, 215

wave shapers 455

wet signals 113, 155, 156, 385

W-mixes 78, 205–6

Yamaha NS10s 87–8, 89, 91