12 of 15 people found the following review helpful
the BEST book in its field,
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This review is from: Mixing Audio: Concepts, Practices and Tools (Paperback)
This big, thick, heavy tome is, without a doubt, one of the best books ever published on audio mixing and production. You will find it ALL in here - mixing tips and tricks, in-depth discussion of how compression, EQ, and all the other processors and effects work, good coverage of popular plug-ins and tools, in fact ... everything. It is an ambitious, thorough book, written by someone with an obvious love of the craft. It is aimed mostly at the recording musician, versus the hard-core sound engineer - meaning it is pretty easy to read and digest, with formulas and math kept thankfully to a minimum and relatively simple where they appear.
This book is THE resource for audio engineers, both professional and amateur/hobbyist. It is not a little paperback with a few cool "tricks" for hip hop producers. This is a book for serious people who want to learn, or reinforce their knowledge of, the whole field of audio mixing.
A major plus of this book is that it is very current. For example, the plug-in examples are things like Altiverb, McDSP, and Vintage Warmer. The song and artist examples are equally current. This is a 2008 book in every way. It is the first book in its field that was really written from the ground-up for the digital, DAW age, as opposed to many other books which are pre-DAW and obsessed with old (and expensive) pro studio gear that few people use anymore. Today's musician-producer does not care why an $80,000 mixing board from 1973 is better than some other board; he/she wants to know how to use compressor plugins to get a better sound. This book is truly ideal for people mixing in-the-box, because it is so DAW / plugin /software centric. Since I mix in-the-box I really loved this aspect of the book.
I am giving the book 5 stars for the content, though it does deserve to be dinged a star for some awkward writing. The grammar is weird, and occasionally interrupts or slows down the reading flow. However, the very notion that one would read an audio engineering book like a novel, so as to get pissed off at a writing style that throws off the "flow," is a testament to how good the content is. An editor should take another pass at this book and tighten it up a little.
There is no reason or excuse not to have this book, if you are into making music and mixing audio.