for tone, 246–249 unmasking with, 251 reverb return, 199, 240–241, 240f reverb/delay levels, between verses and choruses, 284 revision requests, 296–298 rides See detailed fader rides Rihanna, “Umbrella”, 122 ring modulation, adding growl to lead vocals, 193 ringing, caused by porting, 6–7 RN Digital Inspector, 50f Roland DS50A monitor, waterfall plot, 8f Ronson, Mark, 110, 315 room acoustics, importance of, 16–17 room modes, 21–28, 22f affecting lower half of audio spectrum, 23 equalization to correct effects of, 25 generating nodes and antinodes, 22 nonparallel walls to avoid, 24 reducing impact of, 24 relating to room dimensions, 25 room tone, 242, 262 Rosse, Eric, 49–50, 315 rotary speaker emulation, 268f, 269 rough mixes, used on albums, 118 rubberized barrier matting, 27–28 Ruby Tube See Silverspike Ruby Tube S Sansamp See Tech 21 Sansamp range Saturday Night Fever, soundtrack to, 32–33 Scheiner, Elliot, 240–241, 248–249, 316
Schilling, Eric, 21, 24–25, 316 Schleicher, Clarke, 133, 316 Schmitt, Al, 28–29, 248–249, 302, 316 Schwa Schope, 177–178, 179f sealed-box speaker design, 42 Seay, Ed, 240–241, 295–296, 316 second resonant mode, in a guitar string, 21 send-return effect configuration, 158, 233, 255 Sennheiser HD650 headphone, 42–43 Serletic, Matt, 291, 316 set-and-forget approach, of pitch correctors, 102–103 Sex Pistols, Never Mind the Bollocks, 220 shelving filters attributes of, 174 balancing with, 174–176 basics, 174 several active at once, 176 Shipley, Mike, 86, 287, 293, 316 shock tactics, 58–59 Shoemaker, Trina, 18, 317 sibilants, 206 See also de-essing side-chain equalization, 205, 206, 216 side chains, 205, 219 side effects of compressor attack and release times, 157–158 of buss compression, 275 of down-the-line transmission compression, 273 of loudness processing, 277–278 of pitch-correction, 90 of resonance in monitoring systems, 7–9, 8f of speaker porting, 5–9 Sides, Allen, 38–39, 49, 60, 72, 136–137, 317
sides, placing speakers on, 15 Sides signal, 262, 263 Sigsworth, Guy, 245, 317 Silverspike Ruby Tube, 192f sine-wave signal, 13–14 single-speaker mono, 35–36 SIR2 See Christian Knufinke SIR2 size delay, 256 size reverb adding predelay to, 242–243 adding sustain, 243 balancing, 243–246 creating, 252 making audible as an effect, 244–245 Skunk Anansie, “Infidelity”, 7 slapback delay, 256 slap-bass part, compressing, 151 Slope control, of a compressor, 151–152 small improvements, adding up, 226 Smashing Pumpkins, 63 Smith, Don, 256, 317 Smith, Fraser T., 81, 317 snag list, 293–296, 298 snare ambience, supplementing, 196 snare-drum compression, different settings for, 156 snare-drum samples, with low-frequency rumble, 51–52 snare sound, boosting in overhead mics, 220 soft furnishings, damping reflections, 20 soft-knee compression, 154 solo button, success of mix EQ and, 173, 173f
Sonalksis Free G, 51f song sections See also sections displaying as bars or markers, 84 naming, 85f sonic importance, evaluating, 121–122 Sonnox Oxford Suppressor, 215f Sony boombox, mixing using, 44–45 Sony MDR7509 HD headphone, 42–43, 43f “Sorry” See Madonna, “Sorry” sound quality, overall judgement of, 66–69 soundonsound.com , 66–67, 66f source-selection buttons, 69 spaced-pair stereo recordings, 37–38 SPAN See Voxengo SPAN Sparks, Jordin, “Battlefield”, 113 speaker cone excursions, 51–53, 55 speaker spacing, 29–30 speaker stands dedicated, 9–12 filled with sand, 29 speakers See also nearfield monitor systems blocking ports, 48, 48f with built-in amplification, 4 EQing to compensate for low-end tip-up, 20–21 feeding in mono, 40–41 finding to fulfill Auratone role, 39–40 mounting, 29–30 with only one driver, 35f out of polarity with each other, 16 personal preference regarding, 4 ported, 5–6 with ports at the rear, 20–21 positioning, 12–16, 20–21, 29–30
switching, 58–59 unported, 9 special effect reverbs, 245 special effects, impact diminishing with familiarity, 245 spectral decay plot, 7 spectrum analyzers, 50–51 split stereo files, 130 SPL Transient Designer, 168f spot mics, 136–137 spread delay, 259 spread reverb, 232, 253, 250–251 spring reverbs, 247 “Square Dance” See Eminem, “Square Dance” SSL X-Verb, 240f stable balance, as purpose of compression, 161 Stardust, “Music Sounds Better with You”, 207 static arrangement, 112f static stereo enhancements, 264–268 stationary note, rebalancing, 179 Stavrou, Mike, 71, 98–99, 128, 317 Steinberg Cubase built-in 31-band graphic EQ plug-in, 178f Gate, 205f ModMachine, 258f Pitch Correct, 102–103, 102f Vintage Compressor, 145f stems, mixing to, 76, 77 Stent, Mark “Spike”, 16–17, 73, 80, 86, 134, 159, 255, 257, 284, 317 stereo adjustment and metering utilities, 130–131, 130f stereo enhancements adding widescreen background texture, 262
of delay effects, 259 at mixdown, 261 plug-ins, 263 of reverb effects, 250–251 stereo enhancer plug-ins, 263 stereo files, digital clipping on, 41–42 stereo image adjusting width, 262–264 comparing, 282 crumpling outside sweet spot, 38 destabilizing center of, 15 important musical elements in the middle of, 126–127 much wider on headphones, 14 of stereo files, 239 stereo panning, 124–125 widening with delay effects, 259 widening with reverb effects, 250–251 widening mono tracks, 264–268 stereo mic pairs, within an ensemble setup, 134 stereo mixer channels, 130 stereo monitoring, 15–16, 38f Stereooerets See DDMF Stereooerets StereoTest audio file, 16, 31–32 Stereo Tool See Flux Audio Stereo Tool Stillwell Audio Transient Monster, 168–169, 168f Sting, “All Four Seasons”, 23 Stone, Al, 166, 245, 318 “Stop & Stare” See One Republic, “Stop & Stare” studio models of headphones, versus hi-fi, 42 studio monitoring headphones, top-of-the-range, 42 subbass synthesizer part, 54, 197–198 subharmonic synthesizer, 195
subjective activity, listening as, 57 subjective length, of a note, 181 subjective mix decisions, as not teachable, 57 subjective volume differences, between tracks, 70 submixing, 76, 82 subsonic energy, buildup of inaudible, 51 subsynth, beefing up existing fundamental frequency, 198 subwoofer, 18 Sugababes, “Red Dress”, 121–122 supplementary monitoring systems, 45–46 Suppressor See Sonnox Oxford Suppressor surround monitoring, 4 surround sound, reworking a track for, 76 sustain delay, 256–257 sustain reverb, 232, 249–250, 253 sustained monophonic lines, editing, 100 Swann, Darryl, 129, 318 Swedien, Bruce, 32–33, 318 sweet spot, 12–14, 38 sweetening effects, 229 symbols, speaking faster than words, 83–84 synth pads, 199–200, 285f synth waveform, selecting, 198f SynthPadStereoPhase audio example, 37–38 T T-Racks See IK Multimedia T-Racks “Taking over the World” See Pussy Cat Dolls, “Taking over the World” Tan, Phil, 53, 296, 318
Tannoy Reveal monitor, waterfall plot, 8f tape hiss, 242, 262 tape saturation, 192f Taylor, James, Hourglass, 227 Tech 21 Sansamp range, 192 tempo-driven dynamics processing, 170 tempo-related predelay time, 242–243 tempo-synced delay, 257 tempo-synchronizable gates, 169f Tessla SE See Bootsy Tessla SE third mode, of a guitar string, 21 Thomas, Chris, 220, 318 three in a row test, 114 Threshold control on a compressor, 144, 145f, 148–149 on an expander, 163 threshold-dependent transient processing, 167–169 threshold-independent transient processing, 166–167 Thriller See Jackson, Michael, Thriller time, as money, 124 time smearing, 182 time-delay, between channels in stereo, 37 time-domain problems, creating fader instability, 171 time-domain processing, about prediction, 287 timeline, dividing, 84 timeline markers, setting, 87 TimeVerb See GSI TimeVerb timing adjustment, 94–99 edit on simplest level, 95
as a relative perception, 91–92 role of time-stretching, 97–98 tightening, 92–94 Tin Brooke Tales Pocket Limiter, 153f TLS3127LEA compressor, 148, 148f Tischmeyer Technology TT Dynamic Range, 51f tonal delay, 256–257 tonal EQ, 185 tonal imbalances, ear compensating for, 58 tonal reverb, with phase relationships, 252–253 tonal shaping, creative, 132 tonal tools, comb filtering and resonance as, 199 top-to-tail takes, recording numerous full, 108 total phase cancellation, 13 Townshend, Cenzo, 58–59, 80, 121, 196, 318 track count, limiting, 82–83 track icons, 84f track layout, standardizing, 82, 87 tracks blending too well, 239 color-coding, 83 labeling, 83 listening through, 84–85 maximum number of, 82 needing compression, 146–147 organizing, 82–83, 82f panning off-center, 127 recorded as separate overdubs, 235 recording single one phase at a time, 108 reducing number including low-end information, 54, 55 sacrificing less important, 180 targeting for tuning correction, 100–101
T-Racks See IK Multimedia T-Racks traffic rumble, vibrations of, 51–52 transformer distortion, 192f Transgainer See Voxengo Transgainer Transient Designer See SPL Transient Designer Transient Monster See Stillwell Audio Transient Monster transient processors different brands of, 170 multiband, 210 threshold-dependent, 241 threshold-independent, 166 transient-rich instruments, 158–159 transients enhancing, 166–169 loss of attack on prominent, 274 producing distracting flams or stereo ricochets, 241 transmission-line monitor design, 10 transparent gain reduction, 156 tremolo effect, 169–170 triangle wave, using, 198 triggering, samples, 196 Tsai, Serge, 53, 318 TT Dynamic Range See Tischmeyer Technology TT Dynamic Range tuning adjustment, 99–105 correction, 101–102 mix implications, 99–100, 105 turbulence noise, produced by ports, 9 TV mix, 74 2.1 system, creating, 18 U
U-he Uhbik-T, 169f “Umbrella” See Rihanna, “Umbrella” unblending, tricks, 239 unity gain position, leaving fader at, 127 Universal Audio Cambridge Equalizer, 125f LA3A, 145f unmasking, with reverb, 251 unmastered mixes of commercial releases, 70–71 unmatched delay times, 258, 259 unported speakers, 9 unprocessed sound (“dry” or “direct” signal), 233 unstable fader, spotting, 129 upward expander (or decompressor), 166 V valve distortion, 192f van der Saag, Jochem, 83–84, 319 variable-knee clipping, 192f vertical monitor alignment, 12–14 vibrato See modulated pitch shifting Vintage Compressor See Steinberg Cubase Vintage Compressor vinyl noise, 242, 262 Visconti, Tony, 121, 148, 227, 292, 319 vocal(s) automating EQ, 293 intelligibility and fader automation, 292 option of completely replacing, 74 “p,” “b,” and “w” sounds, 51–52 reference tracks for exposed, 67 rides, 292–293
sibilance problems, 210 vocal comping, 110 vocal-out mix, 74–75 vocal-up mix, 73 volume levels, listening at a wide variety of, 61 Voxengo MSED, 262f, 263 Old Skool Verb, 246f PHA-979, 135 Redunoise, 211 SPAN, 50f Transgainer, 168–169, 168f VU-style moving-coil meters, 148 W Wallace, Andy, 65, 196, 269, 273, 289, 319 waterfall plot, 7 ADAM S2A monitor, 8f ATC SCM20A monitor, 8f Auratone 5C Super Sound Cube, 11f Behringer TRUTH B2031 monitor, 8f Mackie HR824 monitor, 10f PMC LB1BP monitor, 10f Roland DS50A monitor, 8f Tannoy Reveal monitor, 8f Westlake BBSM5 monitor, 8f Yamaha NS10 speaker, 11f waveform cycles, crossfading over, 96–97 waveguide, 12–14 Waves Lo Air, 195f Renaissance Compressor, 145f Tune, 104 Way, Dave, 4, 181, 319
Westlake BBSM5 monitor, waterfall plot, 8f Wet/Dry Mix control, 165, 233 “White Flag” See Dido, “White Flag” Winehouse, Amy, “Rehab”, 179 wooden frame, around mineral fiber panels, 26–27 woofer cone excursions, becoming visible, 51 Worley, Paul, 140–141, 319 worst-case listening scenarios, 46 Wright, Toby, 158–159, 319 X X-Verb See SSL X-Verb Y Yamaha NS10 monitor, 9, 11f, 42 Youth, 320 Z Zook, Joe, 60, 320