Wessel Oltheten has been recording and mixing music since his teens, which has led to a successful studio business with a very diverse clientele. To hear some of his work you can visit [...] For extra articles and a video course accompanying this book, visit [...]

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