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Incredible free guide to mixing electronic music
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View this Thread in Original format
| Kysora |
http://www.pdf-archive.com/2011/02/...idetomixing.pdf
I'm only on page 4 or so right now but this guy seriously knows his stuff. It's very well written and easy to understand, and just reading the introduction and glancing at the contents to see what's covered, I'm beyond excited to finish reading this.
I think almost everyone here could find something in this guide that's helpful to them -- definitely check it out if you have a chance. |
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| clay |
| oh why not HTML??? i hate documents and files and stuff. |
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| Kysora |
| It's a PDF, your browser should open it right away... |
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| Andy28 |
| Cheers Kysora will give it a read |
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| meriter |
| This is great, thanks for posting. Guy should print and sell this as "The Production Field Guide" :D |
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| PlasticSoul |
I have this file for a few years, its very useful.
I recommend. |
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| DJ Robby Rox |
If you've read more comprehensive guides like The Dance Music Manual then you would really be better off passing this one by.
Yes its a good read but only for newbies or producers with 1-2 years experience imo. I read this a couple years back and even then I was let down. Although I still use it along with other books just for referencing. Good for the absolute fundamentals but as far as new tricks/techniques you won't find many. Not to be ungreatful or anything lol just to save more experienced producers some time. |
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| Kysora |
| quote: | Originally posted by DJ Robby Rox
Yes its a good read but only for newbies or producers with 1-2 years experience imo. |
mm, well, I dunno. I learned a lot from it. |
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| DJ Robby Rox |
| quote: | Originally posted by CalvP
Dance music manual comprehensive? what you smoking Robby:p
The mixing section is barely 25 pages! |
Its not me who is smoking something try actually knowing wtf you are talking about when you make comments about things you obviously dont know.
The mixing section is not "barely" 25 pages, nice try, its actually 36 pages long and you would have known that if you read chapter 19 the one called "Mixing".
And did you also happen to notice that there is more than 300+ other pages in the book? He uses much better graphs, charts, is more detailed, and covers a vast array of balanced topics while actually engaging the reader somewhat in the process with interesting facts and tips. I see this done to a much much lesser degree in GTM.
And what are you trying to actually say that an EDM book is automatically better just because the chapter about mixing is longer? Total nonsense!
How about we look at the actual differences between the books instead of comparing them based on just your favorite parts? Like maybe a table of contents would be a good starting grounds.
TOC for Guide to Mixing.
1 Sounds 5
1.1 Frequency Domain . . . . . . . . . . . . . . . . . . . . . . . . . . 5
1.2 Patterns of Frequency Distribution . . . . . . . . . . . . . . . . . 8
1.2.1 Tones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
1.2.2 The Human Voice . . . . . . . . . . . . . . . . . . . . . . 8
1.2.3 Drums . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
1.2.4 Cymbals . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
1.3 Time Domain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
1.4 Loudness Perception . . . . . . . . . . . . . . . . . . . . . . . . . 10
1.5 Digital Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
1.5.1 Clipping . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
1.5.2 Sampling Resolution . . . . . . . . . . . . . . . . . . . . . 14
1.5.3 Dynamic Range . . . . . . . . . . . . . . . . . . . . . . . . 14
1.5.4 Standard Sampling Resolutions . . . . . . . . . . . . . . . 15
1.5.5 Sampling Rate . . . . . . . . . . . . . . . . . . . . . . . . 15
2 Preparation 17
2.1 Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
2.2 Volume Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
2.3 Plugins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
2.4 Ears . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
2.5 Sound Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
3 Mixer Usage 20
3.1 Leveling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
3.1.1 Input Gain . . . . . . . . . . . . . . . . . . . . . . . . . . 21
3.1.2 Headroom . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
3.1.3 Level Riding . . . . . . . . . . . . . . . . . . . . . . . . . 22
3.2 EŽects and Routing . . . . . . . . . . . . . . . . . . . . . . . . . 22
3.2.1 Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
3.2.2 Auxiliary Sends . . . . . . . . . . . . . . . . . . . . . . . . 23
3.2.3 Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
3.2.4 Master Bus . . . . . . . . . . . . . . . . . . . . . . . . . . 24
3.2.5 Advanced Routing . . . . . . . . . . . . . . . . . . . . . . 24
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4 Equalization 25
4.1 Purposes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
4.1.1 Avoiding Masking . . . . . . . . . . . . . . . . . . . . . . 25
4.1.2 Changing Sound Character . . . . . . . . . . . . . . . . . 26
4.2 Using a Parametric Equalizer . . . . . . . . . . . . . . . . . . . . 26
4.2.1 Setting the Frequency . . . . . . . . . . . . . . . . . . . . 27
4.2.2 Setting the Q and Gain . . . . . . . . . . . . . . . . . . . 28
4.2.3 Evaluating Your Results . . . . . . . . . . . . . . . . . . . 28
4.2.4 High Shelf/Low Shelf Filters . . . . . . . . . . . . . . . . 29
4.2.5 Highpass/Lowpass Filters . . . . . . . . . . . . . . . . . . 29
4.3 Typical EQ Uses . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
4.3.1 General . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
4.3.2 Kick Drums . . . . . . . . . . . . . . . . . . . . . . . . . . 31
4.3.3 Basslines . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
4.3.4 Snare Drums . . . . . . . . . . . . . . . . . . . . . . . . . 31
4.3.5 Cymbals . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
4.3.6 Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . 31
4.3.7 Vocals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
5 Compression 33
5.1 Purposes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
5.1.1 Reducing Dynamics . . . . . . . . . . . . . . . . . . . . . 33
5.1.2 Shaping Percussive Sounds . . . . . . . . . . . . . . . . . 34
5.1.3 Creating Pumping EŽects . . . . . . . . . . . . . . . . . . 34
5.1.4 When Not to Use Compression . . . . . . . . . . . . . . . 34
5.2 How It Works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
5.2.1 Threshold, Ratio, and Knee . . . . . . . . . . . . . . . . . 35
5.2.2 Attack and Release . . . . . . . . . . . . . . . . . . . . . . 35
5.2.3 Compressor Parameters . . . . . . . . . . . . . . . . . . . 36
5.3 Procedure for Setup . . . . . . . . . . . . . . . . . . . . . . . . . 36
5.4 More Compression . . . . . . . . . . . . . . . . . . . . . . . . . . 38
5.4.1 Limiters . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
5.4.2 Serial Compression . . . . . . . . . . . . . . . . . . . . . . 38
5.4.3 Parallel Compression . . . . . . . . . . . . . . . . . . . . . 39
5.4.4 Sidechain Compression . . . . . . . . . . . . . . . . . . . . 39
5.4.5 Gates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
5.4.6 Expanders . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
5.4.7 Shaping Percussive Sounds . . . . . . . . . . . . . . . . . 41
5.4.8 Creating Pumping EŽects . . . . . . . . . . . . . . . . . . 42
5.4.9 Multiband Compression . . . . . . . . . . . . . . . . . . . 42
6 Space Manipulation 44
6.1 Panning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
6.2 Stereo Sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
6.2.1 Phase Cancellation . . . . . . . . . . . . . . . . . . . . . . 46
6.2.2 Left/Right Processing . . . . . . . . . . . . . . . . . . . . 47
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6.2.3 Mid/Side Processing . . . . . . . . . . . . . . . . . . . . . 47
6.3 Delays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
6.4 Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
6.4.1 Purposes . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
6.4.2 How It Works . . . . . . . . . . . . . . . . . . . . . . . . . 50
6.4.3 Convolution Reverb . . . . . . . . . . . . . . . . . . . . . 51
6.4.4 Mixing With Reverb . . . . . . . . . . . . . . . . . . . . . 51
7 Conclusion 53
7.1 Putting It All Together . . . . . . . . . . . . . . . . . . . . . . . 53
7.2 Final Thoughts . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
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>>>> The entire book in fact covers nothing but mixing. Wheres the chapter on synthesis? Or music theory? Or setting up a mixing desk? sound card/midi etc? And if you really read both books, you'd see DMMII doesn't actually just have 36 pages about mixing.
In fact there's likely closer to double that. Because throughout the ENTIRE book he gives mixing tips even in OTHER chapters namely sound synthesis, processing and effects, digital audio, and EVEN in the chapter where he talks about synths he covers how certain synths mix differently than others. Is that not mixing?
This leads to OBVIOUSLY way more than 36 pages and I'm not going through the whole book just to get a number to prove your stupid ass wrong.
With this information alone it becomes clear to any monkey that you have no ing clue what you are talking about.
TOC for DMMII
PART 1 ● Technology and Theory
CHAPTER 1 The Science of Synthesis ..............................................3
CHAPTER 2 Compression, Processing and Effects .....................31
CHAPTER 3 Cables, Mixing Desks and Effects Busses .............. 57
CHAPTER 4 Programming Theory .................................................. 77
CHAPTER 5 Digital Audio ................................................................ 127
CHAPTER 6 Sampling and Sample Manipulation ...................... 135
CHAPTER 7 Recording Vocals.........................................................151
CHAPTER 8 Recording Real Instruments ....................................169
CHAPTER 9 Sequencers ..................................................................179
CHAPTER 10 Music Theory ...............................................................201
PART 2 ● Dance Genres
CHAPTER 11 House ............................................................................ 231
CHAPTER 12 Trance ...........................................................................251
CHAPTER 13 UK Garage .................................................................... 271
CHAPTER 14 Techno.......................................................................... 283
CHAPTER 15 Hip-Hop (Rap) ............................................................ 295
CHAPTER 16 Trip-Hop ....................................................................... 313
Contents
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CHAPTER 17 Ambient/Chill Out ...................................................... 329
CHAPTER 18 Drum n Bass .............................................................. 347
PART 3 ● Mixing & Promotion
CHAPTER 19 Mixing ........................................................................... 363
CHAPTER 20 Mastering ....................................................................399
CHAPTER 21 Publishing and Promotion .......................................425
CHAPTER 22 Remixing and Sample Clearance ...........................449
CHAPTER 23 A DJs Perspective ....................................................467
Appendix A Binary and Hex ..........................................................485
Appendix B Decimal to Hexadecimal Conversion Table ..........491
Appendix C General MIDI Instrument Patch Maps..................493
Appendix D General MIDI CC List ................................................497
Appendix E Sequencer Note Divisions .......................................499
Appendix F Tempo Delay Time Chart ..........................................501
Appendix G Musical Note to MIDI and Frequencies ...............503
INDEX ...............................................................................................................................................507
Contents
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Farr more comprehensive.
Also not trying to slam Kysora by any means. Kudos to him for bringing this book to the awarness of those who may not have read it.
But shame on the one idiot who hadn't actually read either book.. |
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| studiobob |
just to point out the OPs guide is a guide to mixing. which is what it covers. synthesis is not mixing... the dance music manual is a guide to every part of electronic music. not just mixing :)
should read 'mixing with your mind' if you want a professionals take on the art of mixing. |
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