Sample Illustrations

The iterative coarse-to-fine mixing approach promotes starting the mix with course settings across many track and only focus on fine refinements towards the end of the mixing process.

Stereo localization criteria. All four aspects can be compared here: Localization (difference between the position of b and e); Width (difference between a and b); focus (difference between b and c); and spread (difference between a,b,c and d,e,f).

A W-mix is one that has most intensity around the extremes and center, with not much in between them. This is a common mixing problem often caused by a tendency to pan all stereo sources hard left and right.

A signal flow diagram of a typical software mixer strip.

The out-of-speakers trick makes low- and mid-frequency sounds to appear as if coming from around us.

This Pro Tools screenshot demonstrates the uneven fader scale, where the majority of fader resolution is around the 0 dB mark. This has to be taken into account when level-planning the mix.

The pan clock (top) and the rough position of the hours on the stereo panorama (bottom).

The resultant image of a snare, mainly in relation to width and focus, is affected by the position of the snare on the overheads recording and that of the close-mic panning.

The frequency range of human voice along with areas of interest and associations.

The transfer function of some dynamic range processors and their effect on signals.

Different attack times on a compressor and their effect on a percussive instrument like a snare.

The layout of parallel compression, which is a blend between an uncompressed and a heavily-compressed copies of the same signal.

An example application of a gate's key input. There are two benefits in using a kick-in signal as the key input when gating the kick out: 1) The kick-in is likely to pick-up less spill; 2) The fact that sound arrives to the kick-in before it does to the kick-out results in a natural look-ahead.

A signal flow demonstrating how to add sub-bass to a kick. Every time the kick hits, the gate opens and lets the oscillator signal pass through.

A screenshot showing how to add sub-bass to a kick in Logic. Notice that the side-chain input of the gate is set to the kick track.

Possible snare reverb panning. Such strategy can be suitable when reverbs are used as effect rather then for ambiance simulation.

The topography of the gated reverb setup.

This illustration demonstrates the use of Logic's Audio-to-Score feature to convert an audio kick track into MIDI notes. This is one of the methods that can be used for the purpose of drum-triggering, where samples replace or layered with original recorded percussive instrument.

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