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The Mastering Engineer's Handbook 4th Edition

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Teams optimize for their local optima needs; your job is to help guide the organization towards better global outcomes. Mixes That Lack Clarity And Punch – Instruments aren’t distinct, and low-end frequencies are either too weak or too big. Bobby definitely provides deep insights into mixing after picking the brains of some of the most successful engineers, but if you're looking for a solid framework on which to build you mixing skills, there are other books to read.

Someone will hand in a ruff to a record company after taking a lot of time to make it sound good, then they’ll hand it to me to do what I do. I try to keep the trumpets, trombones and the saxes as close as possible to one another so they feel like a big band. Add additional reverb or delay to an instrument when it gets masked as other instruments are added to the mix. Actually leakage is one of your best friends because that’s what makes things sometimes sound so much bigger.This book is full of good advice from pro engineers about how to achieve certain results in a recording studio.

In terms of what gets sent to those compressors, some of it is consistent and some of it changes with every mix, but they’re ready for me at the push of a button, which on an analog console is great because I just leave that part of the patchbay alone. I’d love to say that I always build it from the vocal, but usually what I’ll do is deal with the drums to get them to act like one fader’s worth of stuff instead of 20 or whatever it is. For Rap, I still use a board when I can, but in terms of mixing, the tracking is so generic and sequenced and simple that the tracks have no real harmonics or overtones. The former is about enabling and sometimes actively encouraging folks to lean into an opportunity, and the latter is about supporting their execution.

Just remember that what we do is to convey the artist’s feelings and make it as musical as possible without harming it. HB brown cloth covers, black decorative lines to front, spine and rear, gilt text to front and spine. Andrew Scheps has worked mega-hit albums for a who’s-who of superstar artists like The Red Hot Chili Peppers, Metallica, U2, Justin Timberlake, Jay Z, The Rolling Stones, Linkin Park, Jewel, Neil Diamond and Adele. With some old school guys, they’re still making the same kind of records, but I’m making young records and they’re being made totally different. Some chunks of the interviews that take up most of the second half of the book appear in the first half as well.

Even though I’ll isolate the drums, everybody will be so close that they can almost touch one another.

Over a period of years, the contents of such notebooks grow to cover a wealth of vital information, and the time saved can be considerable. A Frequent Lack Of A Focal Point – There are holes between lyrics where nothing is brought forward in the mix to hold the listener’s attention. It was a great experience except that I was a kid that didn’t know the difference at the time because I’d never seen anyone else make a record. But before we can talk about how to make a great mix, it’s good to be aware of the signs of one that isn’t that great.

Your job is to partner with TLs and experts closest to the problem domain and work together to identify the path to the best outcome. A lot has changed in the recording industry since the last edition was published seven years ago, so the new edition provides completely updated information on tips for a loud mix, hypercompression, mixing for Internet distribution, warning signs of an amateur mix, MP3 encoding, streaming audio, audio codecs, de-essing, gating, surround sound mixing, and more. So granted, it is a little more difficult to deal with those issues today, but I still take the same approach with every mix. If you know nothing to very little about mixing sound in a recording studio environment, then this is the book for you.Then devote an entire chapter to each person and you have a bit of essential reading for anyone with their eyes on the industry. The book also features multiple ways to mic just about any instrument you can think of, as well as an overview and history of both old and new classic microphones. It depends on the drummer and the sound of the cymbals, but I’ve been using M 149’s, the Royer 121’s, or 451’s. In the book's first section, you'll learn everything from how microphones work to specific techniques for recording drums, individual instruments, vocals and much more.

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