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5 Techniques To make the Vocals Sit in the Mix 1. Volume Automation a. Use volume automation to smooth out vocals before applying compression b. Look for words or phrases that you can’t hear well or that jump out of the mix c. Lower the volume of harsh sounds that distract from the lyrics 2. Serial Compression a.
- A BeginnerÕs Guide to the Art of Mixing
- Why Does This Book Exist?
- Special Symbols
- Discussions
- How to Read this Book
- Some Comforting Thoughts Before We Start
- Mixer is a Tool for Shaping Audio
- A Most Basic Definition: Mix
- Audio Comes In to a MixerÉ
- When Audio is Inside a MixerÉ
- Audio Leaves a MixerÉ
- An Important Pair of Words: Send and Return
- Greater Control
- Input Patching
- WhatÕs a Bus?
- Pre and Post
- Standard Busses
- ÒAuxÓ Stands for ÒAuxiliaryÓ
- How a Signal is Sent to an Aux Bus
- The Roland FlexBusa
- What are Effects and How Can They Be Used?
- One More Type of Bus: The Cue Bus
- WhatÕs Where and Why
- The Rear Panel of Your Mixer
- The Front Panel of a Typical Mixer
- Monitor Controls
- Metering
- Clipping: How Loud is Too Loud?
- In the Red
- Mode-Switching Controls
- Multi-Track Tape Returns
- Fader Group Controls
- Aux Controls
- Bus Control
- Master Strip
- Display
- Automation Controls
- What a Mixer Can Remember
- Utility Controls
- What Else?
- 5ÑConnections
- Making Connections
- Adapters
- AC Power
- Connector Types You Need to Know
- TRS Phone Connectors
- Phone Connectors and Inserts
- XLR Connectors
- Phono/RCA Connectors
- Optical Connectors
- MIDI Connectors
- Mini Connectors
- Impedance
- Balanced and Unbalanced Connections
- WhatÕs Phase Cancellation?
- Matching Levels
- 6ÑAnatomy of a Channel Strip
- Channel Strip Signal Flow
- EQ
- What are Frequencies, Anyway?
- Why Use EQ?
- The Mechanics of Using EQ
- Notching and Shelving
- How Do I Know Which Frequencies I Want?
- Dynamics Processing
- Compressors and Limiters
- Gates
- Expanders
- Mute and Solo
- Mute
- Solo
- Level Control
- Flying Faders
- Inserts
- Inserts Beyond the Channel Strips
- Bus Controls
- One Bus, Two Bus
- Pan Control
- Your MixerÕs Manual
- DonÕt Panic
- When Panic Strikes
- Feedback
- Setting Basic Channel Input Levels
- Application: A Multi-Track Recording Session
- Use Your Recording Time Wisely
- Setting Up In the Studio
- Preparing the Mixer for Recording
- About Adding Effects as You Record
- Recording
- The First Playback
- Fixing Tracks: Punching
- Adding More Tracks: Overdubbing/Multi-Tracking
- Combining Tracks: Bouncing/Ping-Ponging
- Application: Mixing a Record
- Setting Up
- Creating a Mix
- ApplicationÑMixing Live Sound
All rights reserved. No part of this publication may be reproduced in any form without the written permission of Roland Corporation. All trademarks are the property of their respective owners.
As a musician, producer or sound person, you can't get too far in this world without bumping into a central tool of the studio and stage: the mixer. To someone who's unfamiliar with how such a thing works, a mixer can seem impossibly complex. In fact, it's not. Any mixer is actually fairly simple to use, and is packed with helpful tools and creativ...
Throughout ÒBasics of Mixing,Ó you'll encounter a few special symbols in the right-hand margins. These are intended to draw your attention to something important. You'll see: ¥ bricks whenever youÕre presented a basic concept that helps build the foundation of your understanding. ¥ a light bulb whenever thereÕs a good idea, a tip. ¥ a push pin that...
YouÕll encounter some sections in the book that are offset by lines above and below, like this one. These are self-contained discussions about something that relates to the main text. YouÕll find a glossary of common mixer terms in the back of ÒBasics of Mixing.Ó You can use the glossary to refresh your memory as you mix.
ÒBasics of MixingÓ should be read in order, since it builds your understanding of a mixer step-by-step. If you skip around, you may not have the basic knowledge required to comprehend what you're reading. Since the book is fairly short, reading it from top to bottom shouldn't be too hard to do. Success in mixing depends on your thinking and doing t...
Here are two comforting thoughts for you if youÕre at all concerned that youÕll have trouble understanding your mixer: 1. No matter how big a mixer is, or how complex it looks, itÕs basically made up of just a few things repeated over and over. This means that thereÕs a lot less to learn than you might think. Consider this: if you have a 24-channel...
mixer is a tool for shaping sound, or, more specifically, audio. By Òaudio,Ó we mean a stream of sound, such as a musicianÕs live or recorded performance, a rapperÕs rap, or music played by a turntable or CD. A mixer does three basic things: ¥ It receives audio from some external source. ¥ It allows you to change the audio by adjusting its Audio in...
LetÕs make sure weÕre really clear about what the word ÒmixÓ means. When working with sound, it can be used as either a noun or a verb: ¥ As a noun, a mix is a mono or stereo stream of audio thatÕs actually a combination of two or more other audio streams. This combination is created by directing these streams down pathways called Òbusses,Ó which w...
Audio comes in to a mixer through its inputÑas in Òputting inÓÑjacks. On many mixers, these jacks are located on the mixerÕs rear panel. They may also be located on a separate stand-alone boxÑa mixing processorÑthatÕs connected to the mixing control surface. typical mixer can accept audio from a variety of sources. You can connect: ¥ a microphone, ...
The following descriptions will introduce you to some of the things you can do to a signal within a mixer. WeÕll discuss these activities in more detail later on. Some mixers can memorize the changes you make throughout a song, and play them backÑthis is referred to as Òautomation,Ó as weÕll discuss in Chapter 4. You can change a signalÕs: ¥ VOLUME...
Audio leaves a mixer through its output jacks. As with input jacks, a mixerÕs output jacks are often located on its rear panel or on an attached mixing processor. mixerÕs outputs can send audio to: ¥ a track or tracks of a multi-track recorder. ¥ external effect-processing boxes. ¥ a headphone or monitor amplifier for performing musicians. ¥ a mixd...
In a mixer, signals are frequently sent from one place to another and then back to their starting point or some other place. This round-trip routing is such a common technique that special terms have been coined to describe either end of signalÕs journey: ÒsendÓ and Òreturn.Ó These words are used as both verbs and nouns. ¥ As a verb, ÒsendÓ describ...
Since digital audio signals are comprised of binary dataÑthe language of computersÑthey can be subjected to any process that can be dreamed up by software programmers. As a result, digital mixersÑwhich are actually computersÑcan provide a host of features that an analog mixer just canÕt match, including: ¥ unheard-of of sound-altering possibilities...
Each channel on a traditional mixer is directly connected to an input jack so that the mic/instrument/whatever plugged into a jack is controlled by its like-numbered channel. An instrument connected to the first input jack would be controlled by Channel 1, the signal at the second jack would be controlled by Channel 2, and so on. This scheme is nic...
There are basically two methods for sending a signal from one part of a mixer to another or to an output jack connected to an external device. You can: ¥ route, or assign, it to a ÒbusÓ thatÕs connected to the desired destination. ¥ send it directly to an output jack. Understanding busses is absolutely critical in understanding a mixer. While some ...
If you recall, we mentioned on Page 7 that a signal typically flows through a channel strip in a very particular order (which weÕll describe in detail Chapter 6). When you want to send a channelÕs signal to a bus, a mixer will usually provide a set of points within the stripÕs signal flow from which its signal can be copied and sent to the bus. The...
A traditional mixer divides its busses into two types: standard and Aux busses. Standard, general-purpose busses are most frequently used for the sending of one or more signals to a track on a multi-track recorderÑsome mixers label them, in fact, as ÒrecordingÓ busses. Typically, each bus will be connected to its own physical output jack that can b...
Traditional mixers also provide a collection of Aux busses and returns. In common usage, an Aux busÑyour mixer might label it as an ÒAux sendÓÑis used as a way to send a group of signals to an effect. An Aux return will control the volume and panning of the effectÕs output, and will allow you to send it to a track (or tracks) on a multi-track recor...
More control is typically provided for sending a channelÕs signal to an Aux bus than to a standard bus. Somewhere high up on the channel strip, you may find some sort of mechanism for enabling or disabling the sending of the channelÕs signal to each of the mixerÕs Aux busses. YouÕll also find a level control for each Aux bus that allows you to set ...
RolandÕs digital mixers provide a third type of bus that recognizes and makes the most of the wide-open way in which a bus canÑand shouldÑbe used: the ÒFlexBus.Ó Any FlexBus can be used for any purpose, and the means by which a signal is assigned to a FlexBus reflects this. On a Roland mixer with FlexBusses, each channel strip provides: ¥ An on/off...
As mentioned earlier, effects are digital processes that take a dry signal and turn it into something else. Effects can make a tremendous difference to the sound of your tracks and mixes. Some of the most common effects are: ¥ REVERBÑReverb is an imitation of the sound of an acoustic space. This can be a real-world space, such as a concert hall or ...
ThereÕs one more type of bus you may encounter: a Cue bus. Again, thereÕs nothing unique about this kind of bus except its normal use. A Cue bus, which is typically a pair of mono busses grouped together as a single stereo entity, feeds signal to the musicians with whom youÕre working, either through headphonesÑas when youÕre recordingÑor through s...
Mixers are designed to be as convenient as they are flexible. Physically, youÕll find that a mixerÕs inputs and outputs, channel controls and so on are arranged in distinct sections. Within each section youÕll find all of the tools you need for a particular activity. The placement of these components generally reflects the flow of signal into, thro...
Typically, a mixerÕs rear panel is where youÕll find its input and output jacks. On many mixers, you can plug microphones, instruments, multi-track recorders, mixdown recorders, external devices connected to Aux returns and so on directly into the input jacks. Likewise, you can connect its output jacks directly to a multi-track recorder, mixdown de...
When youÕve connected everything you need to connect to a mixer, the main action moves to its front-panel. HereÕs an introduction to the sections of a typical mixer.
A monitor is a speaker you listen to as you work. Monitor controls let you manage what you hear in this speaker, or speakers when youÕre listening in stereo. You can also listen to your mixer using headphones. In general, listening is referred to as Òmonitoring.Ó Onstage, each of the speakers performers listen to is also called a Òmonitor.Ó Some mi...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
When youÕre mixing live sound, youÕre typically responsible for two mixes: ¥ the mix that the audience hears. ¥ the monitor mix to which the performers listen as they work. If your performers require more than one monitor mix, you can create as many monitor mixes as you have busses, outputs and monitor amplification systems. ItÕs best to perform yo...
Learn the original professional song recording mix and what is done with the vocals. Take advantage of first impressions - make note of what stands out, what emotion comes from the vocals, and where the vocals might suddenly sit back or sound different in the mix.
Students explore the physics of sound, how the ear hears and how musical instruments work through interactive demonstrations and student activities. *You can watch a video of the Sound and Music activity if you want, or you can watch short video clips. **If you use the optional worksheet, you may need to add an extra 10 minutes for the activity.
- Composition. The composition is the most crucial element of a track to analyze. Without it, there is no music, no song. That’s why I’ve put it first. I’ll be honest though, this is more difficult if you haven’t brushed up on your music theory.
- Arrangement & Instrumentation. An idea in itself doesn’t make a song or track – it needs development and structure. Otherwise, we’d be listening to an 8 bar loop for 5 minutes.
- Sound Design & Production. Obviously, an important part of electronic music is the sound design and general production work. It’s often the part we love to appreciate the most – incredible sounding Serum patches, creative processing and well-executed ideas.
- Mixing. Mixing starts to get into the more technical side of analysis, where it’s still important to primarily use your ears, but you might need to enlist the help of some audio tools for certain things.
Mixing music is itself a complex task that includes dynamically adjusting levels, stereo positions, filters, dynamic range processing parameters and effect settings of multiple audio streams [108].
People also ask
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Feb 17, 2022 · Learn the the basics of mixing music, including its history, sound mixing techniques, and the various responsibilities of a mixing engineer.
