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Cover -- Half Title -- Title Page -- Copyright Page -- Table of Contents -- Acknowledgments -- Preface -- Travel Guide for This Book -- 1 The World of Mixing: About the Profession of This Book -- 1.1 Who Is the Mixer? -- 1.2 Why Is Mixing Necessary? -- 1.3 What Is the Challenge? -- 1.4 On Rules -- 2 Listening: Everything Is Relative -- 2.1 Perception -- 2.2 Your Ear Is a Compressor -- 2.3 Your Ear Is an Equalizer -- 2.4 Tuning In -- 2.5 A Fixed Reference -- 2.6 Taking Professional Care of Your Ears -- 3 Laying the Foundation: Creating a Starting Position -- 3.1 Before You Start -- 3.2 Foundation -- 3.3 Balance -- 3.4 Panning -- 3.5 Mute Is Your Friend -- 4 The Frequency Spectrum: No Light without Darkness -- 4.1 Association Is Key -- 4.2 Masking -- 4.3 The Goal of EQ -- 4.4 EQ Compass -- 5 Dynamics: Without Soft There Is No Loud -- 5.1 Dynamics versus Time -- 5.2 Technical and Musical Dynamics -- 5.3 Using Compressors -- 5.4 Reducing Masking with Compression -- 5.5 Dynamics and Loudness -- 6 Space: There’s More Room Than You Think -- 6.1 Hearing Space and Distance -- 6.2 Simulating Space and Distance -- 6.3 How Reverb Works -- 6.4 Using Reverb -- 6.5 How Delay Works -- 6.6 Using Delay -- 7 Time and Phase: It’s All About the Sum of the Parts -- 7.1 Interaction -- 7.2 Combining Microphones Hierarchically -- 7.3 Combining Microphones Non-hierarchically -- 7.4 Phase Manipulation -- 8 Identity: A Unique Sound -- 8.1 Innovation, Imitation and Inspiration -- 8.2 Shaping Identity -- 9 Effects: Craziness with a Purpose -- 9.1 Distortion: Simulating Intensity -- 9.1.1 How it Works -- 9.1.2 Distortion in a Mix -- 9.2 Re-amping: Providing Context -- 9.2.1 How it Works -- 9.2.2 Re-amping in a Mix -- 9.3 Modulation: Putting Things in Motion -- 9.3.1 How it Works -- 9.3.2 Modulation in a Mix -- 9.4 Pitch Manipulation: Creating What Wasn’t There -- 9.4.1 How it Works -- 9.4.2 Pitch Shifting in a Mix -- 9.5 Triggering: Cause and Effect -- 9.5.1 How it Works -- 9.5.2 Triggering in a Mix -- 9.6 Spectral Editing: Unreal Reality -- 9.6.1 How it Works -- 9.6.2 Spectral Processing in a Mix -- 10 Automation: Performing the Mix -- 10.1 Faders for Each Function -- 10.2 Parallel Constructions -- 10.3 Change and Conquer -- 10.4 Expressivity -- 11 Advanced Techniques: Exploring the Boundaries -- 11.1 The Floor: Keeping Low Frequencies in Check -- 11.2 The Ceiling: Creating Clear Mixes -- 11.3 Securing the House: Dynamic Interventions -- 11.4 The Exterior Walls: Stereo Processing -- 11.5 Beyond the Exterior Walls: 3D Panning -- 12 Bus Compression: The Sum of the Parts -- 12.1 Influence -- 12.2 Choices and Settings -- 12.3 Multibus Setups: Painting on a Colored Canvas -- 13 Templates: Working Faster Means a Better Mix -- 13.1 Time Is Money -- 13.2 Building Templates -- 13.3 Integrating Equipment in the 21st Century -- 14 Preparing for Mastering: A Good Relationship -- 14.1 Communication -- 14.2 What Is a Good Mix? -- 14.3 Mix Bus Processing -- 14.4 Stems -- 14.5 Consequences of Loudness Normalization -- 15 Mindset: A Competition Against Yourself -- 15.1 Doubt Is Fatal for a Mix -- 15.2 Imposed Limitations: Working in a Context -- 15.3 A Guide for Your Mix -- 15.4 Ways to Stay Fresh -- 16 The Outside World: Sound Engineering Means Working for Others -- 16.1 Speaking the Same Language -- 16.2 Reference Tracks -- 16.3 Feedback on the Source Material -- 16.4 Feedback on the Mix: Revisions -- 16.5 Working at a Distance -- 16.6 Conclusion -- 17 Tools: Preconditions for Mixing Reliably -- 17.1 Basic Acoustics -- 17.1.1 Space -- 17.1.2 Optimization -- 17.2 Monitoring -- 17.3 Subwoofers -- 17.3.1 Why Use a Subwoofer? -- 17.3.2 Choosing a Subwoofer -- 17.3.3 Placement and Tuning -- 17.4 Compressors and Their Side Effects -- Recommended Literature -- Index -- .