ВУЗ: Казахская Национальная Академия Искусств им. Т. Жургенова
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Appendix B
THE MIXING PROCESS
Different engineers have their own procedures to fol-
low when developing a mix. What follows is a process
that will help you build the mix most efficiently.
1. Equalize Each Instrument Individually
You need to make each individual sound good; this
means making the sound either natural or interest-
ing. If you have heard the entire song, you can also
EQ the sound so it will sound good in the mix. Don't
spend too much time working on a sound by itself—
what the sound is like with the other instruments is
what counts. Just get it in the ballpark, and if it ain't
broke, don't fix it. Also, when in solo, always EQ it
brighter than you think it should be. High frequen-
cies are easily masked by the other sounds in the mix.
2. Bring Up the Mix
a) Bring Up Fader/Volume
The order and manner in which you bring up and
balance out the levels of all the different instruments
is important. It is helpful to establish and stick to a
specific order. Here is the outline of a commonly fol-
lowed order:
Drums: kick drum, snare drum, hi-hat, overheads,
toms
Bass Guitar
Basic Rhythm Instruments: rhythm guitar, keyboard
rhythms
Lead Vocals
Lead Instruments
Background and Harmony Vocals
Percussion
It is a good idea to build the foundation, or
rhythm parts, of the mix first. Some engineers will
bring up the vocals after bringing up the kick drum.
b) Pan to Taste
Pan each sound as you bring it up.
c) Add Effects
Many engineers will add effects as they bring up the
instrument in the mix. However, you can't set the
final level of the effects in solo because effects get
masked by other sounds in the mix. Therefore, you
must always set the final level of effects while in the
mix, with all sounds up.
3. Refine Equalization, Volumes, Effects
Then, do it again and again and again . . . until you're
satisfied or almost out of time.
4. Plan Out and Practice Moves
to be Done During Mix
There are four types of moves that can be done dur-
ing a mix: panning changes, volume changes, effects
changes (volume and type), and equalization changes.
If there are too many moves to remember easily, map
them out on paper. Practice your moves before re-
cording onto the mixdown tape.
MIX MAP
You use a mix map to facilitate remembering multiple
moves (such as volume, panning, EQ, and effects
changes) during the mix and performing them pre-
cisely, as well as to preserve all your settings and
moves should you need to mix the song again.
You begin by mapping out the song structure
(verse, chorus, bridge, lead, break) with times. The
Reset column is to remind you to reset all of your set-
tings for the beginning of the song whenever you play
the mix again.
Notice here that the kick, snare, and bass are
brought up to level 2 during the Lead Break and then
to level 3 during the Vamp (repeating Chorus at the
end). These precise levels are marked on a piece of
masking tape next to the fader or with a grease pen.
The snare has reverb turned up on the Bridge and
then turned down on the Lead Break. The overheads
are boosted for the Intro of the song, then brought
down at the beginning of the First Verse. The key-
board is panned to the left at the Bridge, then
returned to left and center spread at the Lead Break.
The rhythm guitar is panned to the right at the
Bridge, then returned to a right and center stereo
spread at the Lead Break. The guitar fills are swept
from left to right during the Lead Break. The lead
guitar is panned more toward the center and brought
up to level 2 during the Lead Break. The vocals are
brought up for the first verse, taken down for the
123
Appendix B
Mix Map Chart
Choruses, and brought to level 4 for the Vamp; reverb
is added for the Bridge, then taken off for the Vamp.
The horns have a delay that is added in the Lead
Break, and the percussion has an EQ effect that is
done in the lead break.
Once you have completed the map, place it
where you can follow it throughout the mix. This
enables you to do an incredible amount of moves very
precisely and shows you where you have a lot of
moves to make at once, which might require some
practice or some help from a band member. When
you do an automated mix, this information is stored
in the computer.
124
The Art of Mixing
Index
3D sound processor 110,
117
'50s and '60s rock 84
'60s music 86
808 rap boom 85
a capella 82
acoustic bass 87
acoustic guitar 32, 43, 45,
65, 108
acoustic jazz 79, 94, 107,
108,
114
acoustic music 94
aliens 27
alternative rock 66, 83, 91,
109,113
amp
4, 34
apparent musical values 6
apparent volumes 30
arrangement 3, 23, 96,
113
aspects of a recorded
piece of music 1
asymmetrical 107
attack 31, 94
audience's perspective
101,
102
background vocals 3, 10,
11,33,65,80,82, 104
balanced panning 18, 107
ballad 84, 85, 86
bandwidth 36, 37, 43, 96
bass 14, 23, 38, 45, 81, 97
bass guitar 10, 11, 15, 25,
32, 37, 41, 43,86,93,
103,
108
Beatles 23, 66, 93, 102
bells 10, 14
big band 79, 80, 81,82,
84, 86, 92, 107
bleed 37
bleed eradication 34
bluegrass 79, 94, 108, 113,
114
blues 84, 85, 86
boom 6, 80, 81
bottom 45
boundaries 11
budget 6
chamber orchestra 107
changing compressor/
limiter settings 94
changing effects 114
changing equalization 99
changing noise gate set-
tings 95
changing panning 110
changing the style of mix
118
changing volume levels 92
choruses 68
chorusing 106, 112
classical 81, 92, 107
click track 5
color 20
compression 94
compressor/limiters 10,
31,93
concept 2, 22
conga 45
context 117
copyright 2, 3
country 21, 43, 73, 80, 82,
84, 85, 91, 98, 105
creative bank 26
crowd control 108
cymbals 10,32,43,45,81,
89
dance 43, 81,92
deadlines 6
decibel 30
delay 4, 10, 13, 15, 22, 48,
67,
106,
111
delay times vs. distance 48
depth 68, 69
determination 7
diffusion 72
disco 86
distortion 7
double kick 100
doubletracked 3, 105, 117
doubling 66
drum kit 4
drum machine 6, 94
drum set 118
drummer's perspective
101,
105
drums 40, 65, 80, 81, 93,
102,
106
dynamics 6, 9, 21, 76, 118
dynamics in music and
songs 76
easy rock 82, 84, 91
echo 65
effects 22, 90, 106, 123
electric guitar 30, 43, 45,
93, 118
electronic music 94
emotions 76
EQ17,
22, 23,
25
EQ of reverb 72
equalization 10, 11, 13,
20,40
equalization dynamics 95
equalize 123
equalizers 35
even volumes 18
expertise of musicians 6
faders 30
fattening 15, 16, 66, 105,
106,
112
feedback 32, 65, 69
feelings 76
flange (ing) 2, 4, 13, 21,
22,90, 106, 112, 114
Hangers 68
Fletcher/Munson (curve)
30
floor toms 45
flute 80
folk 43, 82, 108, 113, 114
frequency 69
frequency ranges 20, 38
frequency sweep 37
full mix 19, 113
fullness 112
garage band 114
gated reverb 35, 73
graphics 35
greatness 6
guitar 3, 4, 5, 15, 20, 23,
39, 42, 81, 82, 93, 97,
105, 106, 113,
117
guitar amps 65
hard rock 113
harmonic structure 20, 30,
39
harmonica 45
harmony 3, 22, 104, 105
harmony processor 75
harp 43, 45
heavy metal 66, 81, 84, 85,
88,98, 109, 113
hi-hat 34, 43, 45, 80, 81,
88, 96,
100,
108
hi-highs 39
high- and low-frequency
reverb time 72
high-level dynamics 116
highpass 37
highpass filter 96, 97
highs 39
hip hop
4, 25, 79, 80, 84,
85, 88, 96, 98, 99,
107,
110, 113,
114
horns 45, 65, 80, 81, 92,
105
image 67, 103
imaging 8
individual compressor/
limiter placement and
relative settings 93
individual effects
placement and relative
settings 111
126
The Art of Mixing
individual equalization
placement and relative
settings 96
individual noise gate
placement and relative
settings 94
individual panning place-
ment and relative set-
tings 99
individual volume place-
ment and relative set-
tings 80
instrumentation 4, 23
intensity 68, 69
interesting EQ 19, 97
irritation 43, 97
jazz 2, 6, 80, 81, 82, 85,
86, 87, 88,
100, 102,
103, 113,
118
keyboard 3, 81, 106
keys 82
kick 23, 45, 71, 80,96
kick drum 5, 10, 21, 24,
37, 41, 81,82,85,93,
100,
108
lead guitar 31, 33,93
leadvocal(s) 80,81, 103
lopsided panning 107
love song 2, 118
low bass 38
lowpass 37
lyrics 3, 23, 24
magic 78,93, 119
magical 40, 42
masked 31
masking 14, 16
mastering 40, 42
melody 2, 22
middle-of-the-road 43, 81,
82, 91,
94
MIDI 29, 114
midranges 39
mix map 123
mixing process 123
movement 79
Mr. Bungle 23
muddiness 43, 44, 45, 96,
97
muddy 96
multiple settings 116
music theory 77
music therapy 78
Muzak 91
natural EQ 19, 96
natural panning 106
negative feedback 69
new age 66, 84, 86, 91,
109,
113
noise 7
noise eradication 33
noise gates 33, 94
octavers 75
oohzone 38
orchestra 13, 107
organ 45
overheads 102
pan 123
panning 10, 13, 22
panning dynamics 99
panpots 47
paragraphics 37
parametric 36, 42, 43
patchbays 29
patterns in effects
placement 113
patterns in volume
placement 91
patterns of compressor/
limiter placement 94
patterns of equalization
placement 98
patterns of noise gate
placement 95
patterns of panning place-
ment 106
people involved 24
percussion 33
perfect pitch 5
perfection 6, 98
performance 5, 23, 24
phase cancelation 9, 34,
65, 67, 95, 102
phase shifters 68
phasing 106, 112
physical reactions 77
piano 43, 45, 65, 82, 93,
105
piccolo 10, 11
Pink Floyd 22, 23, 79,81,
82,83,90,92,99, 114
pitch 5, 10, 13, 38
pitch transposers 75
pop 33,
94
predelay time 71
presence 45
preverb 73
producer 1, 4, 97
psychoacoustic 12, 25
punk 6
purpose of project 6
quality of the recording
24
quality of the recording
equipment 24
R&B
6, 43, 88, 94
rap
3, 6, 25, 79, 80, 81, 85,
86,92,96,98, 113, 114
rap boom 10, 25
rate 69
ratio 32, 94
recording 7
reggae 86
relative pitch 5
release 94
resonance 32
reverb 4, 10, 12, 13, 16,
17, 22, 23, 25, 34, 70,
90,
106, 111, 112,
114
reverb envelope 73
reverb time 71
reverse gate reverb 73
rhythm 2, 22
rock 21, 83, 85,86
rock 'n' roll 2, 43, 72, 81,
83, 87, 89,
92
roll-offs 37
room types 71
salsa 113
saxophones 71
sequencers 29
shaker 108
shape 20
shortening the duration
35
signal-to-noise ratio 31
singer 5, 24, 66
slang 47
slap 65
snare drum 5, 23, 34, 45,
71, 72, 80, 81, 83, 93,
96,97, 100, 118
song and all of its details
22
song structure 4, 23
sound creators 29
sound manipulators 29
sound routers 29
sound storers 29
sound transducers 29
space rock 92, 113
sparse mix 19, 113
speed 69
stabilizing the image 31
stack effects 116
standup bass 87
stereo placement 47
strings 10, 11, 45, 80, 82,
105
structure in music 77
style of music 21
styles of mix(es) 116, 117
surround sound 110, 117
sustain 32
symmetrical 107
symphony 81, 113
synthesizer 4, 6, 15, 94, 97
technique 5
techno 4, 31, 79, 107, 110,
113, 114,
118
theme 2
thought forms 77
threshold 32, 33
time-based effects 48
time-based effects dynam-
ics 111
timing 5
torn mics 88
torn toms 5, 32, 43, 45, 80,
81,87, 101
tubing 68
unbalanced panning 18
uneven volumes 18
values 2
values of the clients 25
values of the engineer 25
values of the mass audi-
ence 26
violin 13
vocals 33, 43, 72, 79, 80,
81,82,93,97
voice 32, 65
volume 10, 13, 22
volume control dynamics
79
volume dynamics 6
wall of sound 23, 113
waveform 20, 30
width 68, 69
X 9
Y 9
Z 9
Zappa, Frank 23
127
Index