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4 sample mixes are presented in Part III of the book, demonstrating how the various tools and concepts discussed in the book are put into practice for the creation of a professional sounding mix.

On the accompanying DVD there are 1388 audio samples for this part only, approximately 350 samples per mix. In addition to the different mix versions presented on this page, the audio samples demonstrate step-by-step what was done and how - track after track, processor after processor, effect after effect. A mere few of these samples are presented on this page under the case-study sections.

How do the samples on this page differ from those in the book? At the bottom of this page.

Hero

Lyrics: Dan Bradley • Music: AutoZero • Dan Bradley: vocals, guitars • Lish Lee: bass, vocals • Lee Ray Smith: drums • Produced by AutoZero • Recorded at Soho Studios, London • Engineered by Guy Katsav • Edited by Luca Barassi • Mixed by Roey Izhaki (in Pro Tools) • Mastered by Mandy Parnell at Electric Mastering, London.
Band Demo
Dan and Lee recorded this demo at home using Cubase, an electronic drum kit and loads of booze.
Mix-Ready Version
Involving rough levels and panning, without any processors or effects, this is the starting point for the mixes below.
Rough Mix
The rough mix I did, the work on which stopped when I felt familiarized enough with the song and recordings.
Mix in Progress
A snapshot of the mix in progress. This one was taken quite far into the mixing process and was only a few hours away from becoming a mix candidate.
Final Mix
The final mix. There is no master-bus processing on this mix and the level corresponds to that sent to mastering.
Mastered Mix
The mastered version.
Full Version
A full-length version of the mastered mix.

Case study: Here is the lead-vocal mix for the excerpts above. The first 'deep within us' is a chop from the vocal take rather than an overdub; the effect heard on this phrase is mainly the outcome of the PSP Master Q and its saturation facility, but also that of the succeeding plugins - the Lexicon PSP 42, the Digidesign D-Verb and the McDSP Chrome Tremolo. The same effect could have been applied on the second 'deep within us', but to create some contrast this second phrase was actually stripped from any effects, which shifts the voice forward in the mix. Also, notice that the send level to the vocal reverb (UAD DreamVerb) is raised just before 'hero'.






It's Temps Pt. II

By Octave and Temps.
Music and production: Brendon 'Octave' Harding • Lyrics and rap: Temps • Mixed by Roey Izhaki (in Cubase) • Mastered by Mandy Parnell at Electric Mastering, London.
Producer's Rough Mix
Octave's rough mix for this track.
Mix-Ready Version
Rough levels and panning; no processors or effects.
Mix in Progress
A snapshot of the mix in progress.
Final Mix
The final mix. No master-bus processing, and the level corresponds to that sent to mastering.
Mastered Mix
The mastered version.
Full Version
A full-length version of the mastered mix.

Case study: The specific effect on the beat during the break in the excerpts above was achieved like so: The original beat was compressed using the Sonnox Oxford Dynamics with (the more hectic) linear mode. Each of the drums constituting the beat was sent to a reverb - the t.c. electronic ClassicVerb. The reverb was gated using another Sonnox Oxford Dynamics and then distorted using the PumpItUp preset from the PSP Nitro. Finally, the reverb was compressed using yet another Sonnox Oxford Dynamics, again, in linear mode. The gate in this arrangement was bypassed on the last beat, so to provide some transition decay; here is the mix before the gate bypassing, and after.






Donna Pomini

Written and produced by TheSwine • Mixed by Roey Izhaki (in Logic) • Mastered by Mandy Parnell at Electric Mastering, London.
Mix-Ready Version
Rough levels and panning; no processors or effects.
Mix in Progress
A snapshot of the mix in progress. Notice the difference in snare level between this version and the final mix.
Final Mix
The final mix. No master-bus processing, and the level corresponds to that sent to mastering.
Mastered Mix
The mastered version.
Full Version
A full-length version of the mastered mix.





The Hustle

Written and produced by Dan 'Samurai' Havers & Tom 'Dash' Petais • Mixed by Roey Izhaki (in Digital Performer) • Mastered by Mandy Parnell at Electric Mastering, London.
Producer's Rough Mix
Samurai's rough mix for this track.
Mix-Ready Version
Rough levels and panning; no processors or effects.
Mix in Progress
A snapshot of the mix in progress.
Final Mix
The final mix. No master-bus processing, and the level corresponds to that sent to mastering.
Mastered Mix
The mastered version.
Full Version
A full-length version of the mastered mix.

Case study: The beat during the break consists of four tracks: Break Beat, Hip Hop Beat, Claps and Half Time. Break Beat and Hip Hop beat are competing tracks and had the two been mixed around the center they would cloud one another and the details of both would be lost (like on the mix-ready version). The problem is that panning one of the tracks too far from the center would create stereo imbalance. To combat this, the raw Break Beat first goes through the MOTU Delay, which only delays the right channel by a quarter-note; this spreads Break Beat to both extremes without creating stereo imbalance. Then, the Break Beat goes through the SoundHack +chebyshev (freeware), which adds a superb touch of distortion.

The raw Hip Hop Beat only goes through the Sonnox Oxford TransMod, which enlivens its dynamics and adds more punch, mainly to the kick. Perhaps more interesting is the parallel distortion applied on this track - a duplicate of the original track was distorted using the UAD Preflex; as can be heard, this duplicate was automated in level to enhance the build up. Here is this section of the production without the distorted layer and with it (by the way, the reverb tail heard on these samples is that of the global ambiance reverb - the Audioease Altiverb).






How samples on this page differ from those in the book?

  • All samples on this page are 160 kbps MP3s. Book samples are CD-quality WAV files.
  • Mix versions in the book appear in full length.
  • Only soloed version are provided for most case-studies here. In the book most of these samples involve both soloed and in-mix versions.
  • For the most part, the text in the book includes the actual setting of processors and effects.
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