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The Mixing Engineer's Handbook, Second Edition Paperback – May 1, 2006
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About This Edition of The Mixing Engineer's Handbook
From the Publisher
- The must-have book for anyone interested in making a professional studio-quality mix.
- Provides completely updated information on all advancements in the field since the previous edition came out in 1999, including hypercompression, mixing for Internet distribution, tips for MP3 encoding, streaming audio, which codecs to use and why, de-essing, gating, and much more.
- Features a new section on the bass/drum relationship and how to make what is generally considered the hardest part of the mix easy.
About the Author
A longtime veteran of the music industry, Bobby Owsinski has produced and composed for records, DVDs, motion pictures, and television shows. One of the first to delve into surround-sound music mixing, Bobby has worked on more than 200 surround projects and DVD productions for such diverse acts as Elvis, Jimi Hendrix, The Who, Willie Nelson, Neil Young, The Ramones, and Chicago, among many, many others. Currently a principal in the music production house Surround Associates and content creator 2B Media, Bobby has also penned several hundred articles for many popular music and audio trade publications and has authored books that are now staples in audio-recording programs in colleges around the world. A frequent moderator, panelist, and program director of a variety of music and professional audio industry conferences, Bobby has served as the longtime producer of the annual Surround Music Awards and is currently an executive producer for the Guitar Universe and Desert Island Music television programs. He is also a partner in the popular Asia Los Feliz restaurant in Los Angeles, and he serves on the board of directors of the Media Entertainment Technology Alliance.
Top customer reviews
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This book is awesome! It has virtually everything you ever wanted to know about mixing. Tons of thoughts and SPECIFICS on EQs, Compression, balance, panning, and all kinds of great information. Owsinski gives specific ideas and settings for frequency slotting and balance. For example, on page 33 there is a chart that has "magic frequencies", or "sweet spots" in the frequency spectrum for different instruments, i.e, "Horns: Fullness at 120Hz, Piercing at 5kHz" or "Conga: Ring at 200Hz, slap at 5kHz".
MANY times you will get books that have a bunch of mediocre information and their key point is "you just have to play around with it until you find that sweet spot" or "it's all up to you". What's great about this book is that it gives you a STARTING POINT plus is has a TON of thoughts on specific subjects by some (some...try 22!) of the most renowned mixers in the business including Allen Sides, Don Hahn, Bruce Swedien, Elliot Scheiner, John X, and Ed Seay. In the later chapters of the book, he has strictly the interviews of mixers in their entirety. The interviews are mostly about their philosophies and methods on mixing as a WHOLE. The specifics are left embedding into the chapters.
So, if you think you know it all, get this book! If you think you don't know where to start, get this book! It will rock your world and change your entire way of thinking, at least, it did for me! 5 stars!
It covers compressors in a much more practical way than some other books, giving you some really nice tips on how to get a great vocal.
I love the chapter on effects, and especially the specific tips on layering reverbs.
And then there are the interviews which really show you how much work and technique the pros are using that the average home enthusiast is not. Those interviews woke me up and let me know that I'm going to have to get a lot better and work a lot harder to create the same quality as the pros.
The information on file formats is very good too. I had no idea that MP3 files had so many drawbacks and were so touchy.
Only the most minor annoyances keep this book from being a pillar of magnificent writing. I would like to see the names of the equipment being constantly mentioned get fully-worded, rather than just slinging out terms like "808". (That's some type of Roland drum-machine the best I can tell.) In other words, instead of saying "LA2A", give the brand-name, the model number, and what kind of gear it really is so that a beginning reader can follow along better.
The bottom line is that this book will make you better and give you a lot more knowledge than you probably had if you're trying to learn proper mixing.
It assumes you're already somewhat familiar with mixing sound, like how to "sweep across the spectrum" to find the dominant frequency. But just reading through it improved the quality of the live mixes I do under less-than-ideal recording conditions.