Mixing Audio This page intentionally left blank Mixing Audio Concepts, Practices and Tools Roey Izhaki AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier Linacre House, Jordan Hill, Oxford OX2 8DP, UK 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA Copyright © 2008, Roey Izhaki, Published by Elsevier, Ltd All rights reserved The right of Roey Izhaki to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: (+44) 1865 843830, fax: (+44) 1865 853333, E-mail: permissions@elsevier.com You may also complete your request online via the Elsevier homepage (http://elsevier.com), by selecting “Support & Contact” then “Copyright and Permission” and then “Obtaining Permissions.” Recognizing the importance of preserving what has been written, Elsevier prints its books on acid-free paper whenever possible British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data A catalogue record for this book is available from the Library of Congress ISBN: 978-0-240-52068-1 For information on all Focal Press publications visit our website at www.books.elsevier.com 08 09 10 11 Printed and bound in Great Britain Front cover design by Roey Izhaki Reflection image: SSL XL 9000K console @ The Hit Factory, courtesy of Solid State Logic Picture credits: Line illustrations by Roey Izhaki, apart from 14.5 – Carlos Lellis Ferreira Figures 7.2, 7.3, 9.21, 9.35, 16.3, 23.4 – photos by Matthias Postel Working together to grow libraries in developing countries www.elsevier.com | www.bookaid.org | www.sabre.org Contents Acknowledgments xi Introduction xiii Symbols and formats used xvii Part I Concepts and Practices Music and mixing Music – An extremely short introduction The perfect mix 3 Some axioms and other gems Louder perceived better Percussives weigh less Importance Natural vs artificial 12 12 14 15 16 Learning to mix What makes a great mixing engineer? Methods of learning Mixing analysis Reference tracks 18 18 22 24 25 The process of mixing Mixing and the production chain The mix as a composite Where to start? Deadlocks Milestones Finalizing and stabilizing the mix 28 28 32 33 39 40 41 Related issues How long does it take? Breaks Using solos Mono listening Bouncing Housekeeping Mix edits Mastering 44 44 45 45 46 48 53 53 55 Mixing domains and objectives Mixing objectives Frequency domain 58 58 60 v vi Contents Level domain Stereo domain Depth Part II Tools 64 67 71 75 Monitoring How did we get here? Choosing monitors The room factor Positioning monitors 77 77 81 84 88 Meters Amplitude vs level Mechanical and bar meters Peak meters Average meters Phase meters 93 93 94 95 95 98 Mixing consoles Buses Processors vs effects Basic signal flow The importance of signal flow diagrams Groups In-line consoles The monitor section Solos Correct gain structure The digital console 99 100 100 102 108 117 124 128 131 135 137 10 Software mixers Tracks and Mixer Strips Routing The internal architecture 140 141 146 149 11 Phase What is phase? Problems Tricks 163 163 165 168 12 Faders Types Scales Working with faders 177 177 179 181 13 Panning How stereo works? Pan controls Types of tracks 184 184 186 194 Contents vii Panning techniques Beyond pan pots 198 203 14 Equalizers Applications The frequency spectrum Types and controls In practice Equalizing various instruments 205 206 209 214 232 249 15 Introduction to dynamic range processors Dynamic range Dynamics Dynamic range processors in a nutshell 262 262 264 265 16 Compressors The course of history The sound of compressors Principle of operation and core controls Additional controls Controls in practice Applications Tricks More on compressors 270 271 273 274 287 295 312 322 327 17 Limiters 335 18 Gates Controls Applications In practice Tricks 338 339 351 355 358 19 Expanders Controls In practice Upward expanders 365 366 368 371 20 Duckers Operation and controls Applications 374 374 377 21 Delays Delay basics Types In practice Applications 380 380 384 389 393 22 Other modulation tools Vibrato ADT 397 397 398 viii Contents Chorus Flanging Phasing Tremolo 399 401 402 404 23 Reverbs What is reverb? Applications Types Reverb programs Reverb properties and parameters Reverbs and stereo Other reverb types Reverbs in practice 405 405 405 410 418 421 434 437 443 24 Distortion Background Distortion basics Ways to generate distortion Amp simulators 451 451 451 454 457 25 Drum triggering Methods of drum triggering 460 461 26 Other tools MS Pitch shifters and harmonizers Exciters and enhancers Transient designers 465 465 470 471 473 27 Automation Automation engines The automation process Automation alternatives Control surfaces 475 476 476 479 480 Part III Sample Mixes 483 28 Hero (Rock) Drums Bass Rhythm guitar Distorted guitars Lead guitar Vocals 485 486 491 492 493 495 495 29 It’s temps Pt II (Hip Hop/Urban/Grime) Beat Bass Other tracks Vocals 499 499 502 503 507 Contents ix 30 Donna Pomini (Techno) Ambiance reverb Beat Sound FX Bass Vocal Other elements 513 513 514 519 520 521 521 31 The Hustle (DnB) Ambiance reverb Drums Motif elements Pads Horns and brass Risers Strings 526 527 527 532 535 536 537 539 Appendix A Notes to frequencies chart 540 Appendix B Delay time chart 541 Index 551 .. .Mixing Audio This page intentionally left blank Mixing Audio Concepts, Practices and Tools Roey Izhaki AMSTERDAM • BOSTON • HEIDELBERG • LONDON... Introduction xiii Symbols and formats used xvii Part I Concepts and Practices Music and mixing Music – An extremely short introduction The perfect mix 3 Some axioms and other gems Louder perceived... of this book and his invaluable comments on these drafts Paul Frindle for keenly sharing his priceless knowledge on compressors and other mixing tools Kelly Howard-Garde, Laura Marr and Chris Zane