Mixing Secrets for the Small Studio (Sound On Sound Presents...)

Not for beginners,Beginners u can go for audio engineering 101 by Timothy A. Dittmar

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Each and every line of this book will make you a better Music Producer and sound designer.

Its really useful for a beginner and can teach you a lot!!!!! Definitely a buy if you are new.... You will learn a lot!!!!

Good

This book is like the bible for mixing music. It's a must-have for every mixer in the world, professional or amateur. The wealth of information in here is unparalleled. Mr. Mike Senior is a great mixer as well as teacher and I was astounded by the fact that he personally replies to any question that you might be having in your mind regarding mixing. The book goes through every stage of mixing whilst being as entertaining as possible when it comes to books on mixing. Concepts are clearly explained and the assignments at the end of each chapter are good to work through. The 'Cut to the Chase' after every chapter is an excellent addition for continuous revision. This is how books should be. It's interesting, the support from Mike is an added bonus, and it's production quality is amazing as well. Close your eyes and spend your money on this, because the value is infinite.

It’s an amazing book for music producers and sound engineers. There is no useless information. The book is talking straight to the point. I’ll definitely recommend this book for the producers and engineers.

Half of the book only tells about the unaffordable Monitors and acoustic treatment to studio. Doesn't suggest a way out to deal with budget .

Excelente libro, son de esos libros que no puedes solo leer una vez y va siempre al grano con los problemas que los estudios en casa tienen en cuanto a problemas derivados del incorrecto (o hasta nulo) tratamiento acustico de un cuarto común y corriente, recomendaciones para obtener el mejor sonido en cuanto a monitores, audífonos de referencia y sobre todo el detalle de cada pasó en el proceso del mixing en un contexto exclusivamente de home studios.Un libro que me ha abierto la mente en cosas que desconocía sobre el proceso del mixing y sobre todo que está respaldado por comentarios de grandes personalidades de la producción en audio.

Penso che sia uno dei migliori libri mai scritti sul tema! Ma non solo. Questo libro ti da una miriade di informazioni che ti permettono di perfezionare le tue abilità nel missaggio. Tratta veramente tantissimi aspetti e ti da le informazioni per poterti costruire uno studio che suoni abbastanza bene da poter missare un brano che poi suoni bene in qualsiasi ascolto e circostanza. Il tipo ne sa veramente tanto!!! Lo consiglio veramente tanto a chi è interessato alle produzioni sonore.

As a mature 'student' wanting to cement my existing knowledge of the mixing process, as well as explore the yawning gaps in that knowledge and develop a consistent workflow, I found this book to be almost perfect.I'll get the few (minor) niggles out the way first - and these are repeated in my review of Mike Senior's other book, Recording Secrets for the Small Studio. You should read that book as well - in fact, read it first, as it is focused on the capture of material. Get that right and you're in a much better place when it comes to the mix.Firstly, in the niggle list - the speech bubble call outs are not useful (to me, anyway) as they are no more than verbatim lifts from the text. Fine if the text consists of sprawling passages with no breaks, but this book is usefully broken down into short, titled sections, so the need for those additional highlight bubbles is minimal and they become a distraction. More useful might have been something like another short comment from a respected producer/engineer/artist on the subject being discussed.Secondly, the larger secondary text boxes are often annoyingly placed, such that they unnecessarily interrupt the flow of reading a section or require you to turn back to a previous page to read them. It might make for an interesting layout, but it gets annoying. To be honest, in most cases I couldn't see a reason for the passages to be treated as supplementary text boxes as the topics often deserved inclusion in the main text.Finally on the minor niggle front, the quality of the graphics was up to Focal Press's usual standard - variable. I don't get how a thirty quid book can't offer consistently high quality images and illustrations. Screenshots, as always, look the worst.So, those weeny complaints aside, in pretty much every regard I found the book to be brilliantly structured, clearly written (with enough humour to raise a smile in some of the drier sections) and with an excellent progress from one chapter to the next. It is pretty much laid out like an all-purpose mixing session workflow sequence, starting with prepping the material, moving on through balancing, compression, EQ, and so on. It's crammed with useful tips from Mike and from respected producers and engineers.The book exposed huge gaps in my knowledge and some terrible practices I had developed over the years. The arguments for and against doing things in a certain way were clear and compelling and made total sense, often backed up with comments from the industry experts. It was interesting to compare this with a lot of other free and commercially available mixing training to see how many seemingly elementary mistakes many other people are making. It made me feel a little better about my naivety! In fairness, the 'rules' are made to be followed, bent, broken or ignored as appropriate for the situation at hand, and the end result - the final mix - is the final proof of the pudding. So, for example, while Mike promotes using EQ in the first instance to CUT rather than BOOST to balance a track in the mix, he also goes on to say that there are times when doing the opposite might work better for your desired result. I doubt that people like Brian Eno or Tony Visconti slavishly followed all the rules in the studio. Of course not. While I am sure these pioneer producers have a solid understanding of the 'correct' way to do things, they took those rules and wrapped their own experimentation and fearlessness around them to come up with something different. As a basis for developing your own techniques, or simply as a standard guide to straightforward, logical mixing, either way this book is a fantastic source.I have read it once, cover to cover, and now plan to go through it again with a specific mix on my desk, applying Mike's logic and workflow. I'm rarely excited about reading the same book twice - especially back to back - but on this occasion I am raring to go. I don't think I will pick up another book on mixing for a while, but I will buy a few masterclass style video tutorials to supplement this. It will be interesting to watch these given the solid understanding I now have of the mixing process.

Livro cheio de informações preciosas para quem deseja realmente estudar o assunto e obter resultados relevantes através do conhecimento! Indispensável a qualquer pessoa séria nessa área!

良い点・予算が限られた自宅スタジオで商用レベルの音源を作るために本当に必要な道具と使い方が書いてある・著者のマイクシニアさんの解説が主だが要所では世界で活躍しているエンジニアやアーティストが話題の肝に言及しているので説得力が凄い。・話題の間の小話もいい。Q.ソナーワークスのあれってどうなの？A.それよりXXXのほうが優先的に先、とかQ.ヘッドホンだけでミックスってあり？ってな感じのリアルな疑問と返答パートも有用。悪い点・英語・価格