- Paperback: 600 pages
- Publisher: Focal Press; 2 edition (October 1, 2011)
- Language: English
- ISBN-10: 0240522222
- ISBN-13: 978-0240522227
- Product Dimensions: 7.2 x 1.1 x 9.5 inches
- Shipping Weight: 2.9 pounds (View shipping rates and policies)
- Average Customer Review: 4.7 out of 5 stars See all reviews (77 customer reviews)
- Amazon Best Sellers Rank: #281,436 in Books (See Top 100 in Books)
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Mixing Audio 2e 2nd Edition
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"This introductory guide to music mixing provides theoretical and practical information on the technical aspects of sound engineering, as well as discussion of the creative aspects of the art. Beginning with a section on concepts and principles, the bulk of the work focuses on specific tools and their uses, while a final section provides walk-throughs of simple mixing projects based on music genres. Chapters include numerous illustrations and an emphasis on technical versus creative lessons is stressed throughout."--Reference and Research Book News
"Praise for the first edition: Absolutely first rate. The standard of writing by Roey Izhaki, as well as the examples on the CD are just superb."--Mark Mynett, Senior Lecturer, Department of Engineering & Technology, School of Computing & Engineering, University of Huddersfield
"This book has become indispensable for me, and now resides on my desk, often open in front of me when I’m mixing! If you only get one book on mixing, make it this one. So far it’s the only one I’ve got, and I find it more than comprehensive. I’m on my second read through to pick up all the things I missed first time around!" -- Ben Trigg, Musician and Studio Owner, Musicians' Republic
From the Back Cover
Your mix can make or break a record, and mixing is an essential catalyst for a record deal. Professional engineers with exceptional mixing skills can earn vast amounts of money and find that they are in demand by the biggest acts.
To develop such skills you need to master both the art and science of mixing. The new edition of this best selling book gives you all you need to know and put into practice in order to improve your mixes. Covering the entire process from fundamental concepts to advanced techniques and offering a multitude of audio samples, tips and tricks, this book has it all. Roey Izhaki teaches you the importance of a mixing vision, how to craft and evaluate your mix then take it a step further. He describes the theory and the tools used and how these are put into practice while creating mixes. Packed full of photos, graphs, diagrams and audio samples, Mixing Audio is a vital read for anyone wanting to succeed in the field of mixing.
New to this edition: * Fully updated with current plug in and software version and information * New tips for each element of the mix * Expanded DVD with a multitude of new samples including more macro-mixing samples. * Appendixes and some text elements available via the web site * Sample mixes now include Jazz and Heavy Metal, as well as additional Rock Mixes * Additional screenshots and session files of the sample mixes
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Top customer reviews
Having said that, though, the same publishing houses think nothing about the many of us who work with the orchestra. I write world music, using a great deal of strings that play chords (patches) but also carry the melody (song). A good number of my songs are written for the guitar accompanied by string ensembles, mixed with chords carried by horns and other winds (an excellent combination, btw). I also write jazz for the big band. Anyway, any book that's worth its salt should contain at least one chapter about mixing string sections (and string sections with other instrument sections), the most difficult to deal with recorded track or sampled instruments of all, which even rock musicians sometimes use in the studio. None of the books out there do. There's Andrea Perjolo's, an excellent book, a must have if one needs suggestions about working with orchestral sample libraries, but it essentially is not about mixing.
I tend to think that many a music writer sees the lacking, but won't speak up.
Lastly, I have to recognize the author's effort. This is a very big book. I can imagine the enormous amount of work that went into writing it. Kudos to you, Mr. Izhaki.
The book really hits every angle it can from the basics of EQing, compression, limiters, expanders ect. And fleshes them out to uses way beyond the basic mixer. He dives into using busses and really getting the most out of your mixes with some of the most commonly used tricks in the industry.
It's the kind of book you're going to read several times, because there is just so much to take in. I went through it, read and highlighted everything I thought would be most helpful to my situation, and I've gone through it a few times, and instantly my mixes have gotten better.
You must download the files associated with this book, because you can practice what he presents effectively. Every other page, he gives you exercises to try out and why they are important.
If you are a beginner or even a relatively experienced engineer, there is a lot to learn from this book, and it is very relevant with the times! He breaks down the analog versions of some machines and talks how the plug ins have emulated or even built on!
This book will be on my virtual bookshelf for years to come!
'Mixing Audio' has the most in-depth descriptions of effects and how to use them. Roey Izhaki explains every parameter in useful detail, plus ways the effects can be used to aid the mix. And not only that, he provides you with audio clips to hear the differences! The audio examples included are well-organized and very, very numerous. Don't just read what reverb diffusion does, hear it - just press play!
As an example, if the topic is reverb types, you'll get a vocal clip with no effects and a drum clip with no effects. You'll then hear the same two clips with different reverb settings (such as spring, plate, chamber, hall, church, cathedral, and room), that way you can compare with ease. Reverb that you may not notice on the vocal clip maybe be more audible on the drum clip.
Repeat this thoroughness, and this is what you get: the Reverb chapter has 111 clips, the Compression chapter (not including Limiting, Gating, or Expansion) has 89 clips, and the EQ chapter has 160! Granted, these are the largest examples, but still, it's quite impressive.
The book ends with five songs representing different genres, where he describes what he did to each track of a song along with a separate audio clip for each step (for example: 1. bass drum - isolated, 2. bass drum - in mix; 3. bass drum with HPF - isolated, 4. bass drum with HPF - in mix; 5. bass drum with HPF and compression...etc). It is all very daunting, in the best way possible.
There are details I've learned in this book that other mixing books gloss over or fail to mention. It's not that this book is hard to read or dense. It's just that it's SO good, I couldn't fully appreciate it the first time around. The writing is lucid, the flow is logical. The chapters about mix aesthetics are eye-opening.
And again, he really went above and way beyond with the audio examples. There are some great books out there on the subject, but in my opinion this one is the ultimate. I am SO glad I got it, it's a godsend.
If you are a home studio mixing engineer who seeks the knowledge of the pros and cannot afford to go to school for it, then this book is for you! I highly recommend.