Operation and controls 375 Applications 378ĭelay basics 381 Types 385 In practice 390 Applications 395 The course of history 275 The sound of compressors 277 Principle of operation and core controls 278 Additional controls 290 Controls in practice 298 Applications 314 Tricks 324 More on compressors 329Ĭontrols 340 Applications 352 In practice 356 Tricks 359Ĭontrols 367 In practice 369 Upward expanders 372 How stereo works 190 Pan controls 192 Types of track 200 Panning techniques 204 Beyond pan pots 208Īpplications 210 The frequency spectrum 214 Types and controls 218 Graphic equalizers 234 In practice 237 Equalizing various instruments 253ĭynamic range 266 Dynamics 268 Dynamic range processors in a nutshell 269 Types 183 Scales 185 Working with faders 187 What is phase? 170 Problems 172 Tricks 174 Tracks and mixer strips 149 Routing 154 The internal architecture 157 effects 112 Basic signal flow 114 The importance of signal flow diagrams 120 Groups 125 In-line consoles 134 The monitor section 138 Correct gain structure 144 The digital console 146 level 105 Mechanical and bar meters 107 Peak meters 107 Average meters 107 Phase meters 109īuses 112 Processors vs. How did we get here? 85 Choosing monitors 89 The room factor 92 Positioning monitors 96 Headphone mixing 100 Mixing objectives 66 Definition 67 Interest 68 Frequency domain 69 Level domain 73 Stereo domain 76 Depth 79 How long does it take? 45 Breaks 46 Using solos 46 Mono listening 47 Housekeeping 48 Mix edits 50 Mastering 50ĭual process theory 53 The power of the unconscious 55 Intuition 58 Thinking without thinking 60 Emotions 61 Change 62 Creativity 64 Mixing and the production chain 30 The mix as a composite 34 Where to start 34 Deadlocks 41 The raw tracks factor 41 Milestones 42 Finalizing and stabilizing the mix 42 v What makes a great mixing engineer? 20 The ability to work fast 24 Methods of learning 24 Mixing analysis 25 Reference tracks 27 Louder is better 14 Percussives weigh less 16 Importance 17 Natural vs. Music: an extremely short introduction 7 The role and importance of the mix 8 The perfect mix 11 I94 2017 | DDC 621.389/3-dc23 LC record available at ISBN: 978-8-1 (hbk) ISBN: 978-8-4 (pbk) ISBN: 978-4-7 (ebk) Typeset in Univers by Florence Production Ltd, Stoodleigh, Devon, UK Visit the companion website: iv | Sound recordings-Production and direction. Title: Mixing audio : concepts, practices, and tools / Roey Izhaki. Library of Congress Cataloging in Publication Data Names: Izhaki, Roey, author. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Routledge is an imprint of the Taylor & Francis Group, an informa business © 2018 Roey Izhaki The right of Roey Izhaki to be identified as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. Third edition published 2018 by Routledge 711 Third Avenue, New York, NY 10017 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Mixing Audio Concepts, Practices, and Tools Third Edition
An audio engineering academic lecturer for 10 years, he has given mixing and audio seminars across Europe.
Roey Izhaki holds a BA in Recording Arts and has been mixing since 1992.
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Packed full of photos, graphs, diagrams, and audio samples, it teaches the importance of a mixing vision, how to craft and evaluate your mix, and how to take it a step further. This book covers the entire mixing process -from fundamental concepts to advanced techniques. This third edition of Mixing Audio: Concepts, Practices, and Tools is a vital read for anyone wanting to succeed in the field of mixing.
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