Introduction to Mixing
Chapter 13 begins a discussion of mixing from the standpoint of a digital media composer. After an introduction to microphone types and related cabling, the focus turns to signal flow in both studio console and computer software scenarios. Throughout the chapter, you will explore concepts such as polar patterns, channel strips, in-line effects, aux tracks, and referencing. This will provide a foundation for understanding later chapters on recording, editing, mixing, processing, and mastering.
13.1 Dynamic microphone
13.2 Condenser microphone
13.3 Ribbon microphone
13.4 Unidirectional/cardiod pattern
13.5 Bidirectional/figure 8 pattern
13.6 Omnidirectional/boundary polar pattern
13.7 Frequency response chart comparison 13.8 Basic channel strip layout
13.9 The pre-amp section of a channel strip
13.10 The aux/inserts section of a channel strip
13.11 The dynamics/EQ section of a channel strip
13.12 Pan, solo, and mute sections of channel strip
13.14 Routing from a channel fader to a master fader and eventually to loudspeakers via a power amp
13.15 Drum bus in Pro Tools
13.16 Aux/inserts of channel strip
13.17 Multiple effects shared by multiple tracks in Logic Pro
13.18 Standard track organization example in Pro Tools
13.19 Hidden and unhidden MIDI tracks in Logic Pro
Flashcards
Click on the word to get the definition
an audio signal’s pathway from a sound source through various circuits.
a connection point in an audio device that accepts three-wire, noise-cancelling cables such as XLRs.
a connection point in an audio device that accepts two-wire cables such as TSs that are more susceptible to picking up noise.
shorthand for Radio Corporation of America, a connector used in a type of unbalanced speaker cable that is common in consumer grade speaker systems.
shorthand for Tip Sleeve, a connector used in a type of unbalanced instrument cable that is common for guitars, basses, and keyboards.
shorthand for Tip Ring Sleeve, a connector used in a type of balanced instrument cable that is common for guitars, basses, and keyboards.
shorthand for Cannon Electric’s X series with an added Latch and Rubber compound, a connector used in a type of balanced cable that is common for connecting microphones to devices such as mixing consoles.
a transducer that creates an electrical image based on a detected sound signal.
a durable type of microphone that captures sound and creates voltage via a coil-fixed diaphragm that is wrapped around a magnet.
a highly sensitive type of microphone that captures sound and creates an audio signal via a capacitor and voltage supplied by a battery or power supply.
the mechanism of audio signal generation within a condenser microphone, which is created when a sound wave causes a diaphragm to move relative to a back plate when voltage is between them.
an expensive, delicate type of microphone that captures sound and creates signal via a metallic ribbon that vibrates within a magnetic field.
a microphone’s directional span of sound absorption.
a heart-shaped, unidirectional polar pattern.
an expanded cardioid polar pattern that additionally captures a small area behind the microphone.
an expanded supercardioid polar pattern that captures an even larger area behind the microphone, in addition to the cardiod (heart-shaped) region in front of the microphone.
a polar pattern that picks up sound equally from the front and back of a microphone.
a polar pattern that is characterized by equal sound absorption from all directions.
a technical readout that demonstrates a microphone’s capacity to respond to certain frequencies within a typical range from 20Hz to 20kHz.
one of several units within a mixing console that typically consists of input jacks, a gain control, aux sends, dynamic control, panning control, solo/mute control, and level control.
a volume control for each channel of a mixing console, which specifically adjusts the level at which an input signal will proceed into a channel.
an external device to which (and from which) signal is routed within a channel strip.
a section of a channel strip that allows the producer to place an audio signal left or right within the stereo field.
a button within a mixing board’s channel strip that, when pressed, silences the signal such that no sound within that specific channel strip is heard.
a button within a mixing board’s channel strip that, when pressed, silences the other channels such that no sound except that specific channel strip is heard (although any other soloed channels’ signals will also be present).
a pathway within a mixing board through which one routes signal to a particular destination.
a commonly used bus scenario that transports and combines the separately recorded signals of each discrete drum set element (hi-hats, toms, snare drum, kick drum, etc.) into a single, more manageable track.
an auxiliary track within a mix to which (and from which) signal is bussed, typically for the purpose of adding effects and/or grouping tracks.
the use of effects plugins that are added to each individual track within a mix.
the primary summing point within a mixer, where all tracks are combined and may be adjusted en masse.
signal that does not have added effects.
signal to which effects have been added.
a mixing scenario that involves signal being sent to an aux track after it is routed through the channel’s fader, such that the channel volume is directly linked to the output of the bus send, eliminating the need to recalibrate wet/dry ratios each time the channel volume is altered.
a mixing scenario that involves signal being sent to an aux track before it is routed through the channel’s fader, such that the channel volume is not linked to the output of the bus send, resulting in the need to recalibrate wet/dry ratios each time the channel volume is altered.
to export a mix from the DAW and convert it into an audio file, such as an AIFF or MP3.
a strategy in which the rudimentary elements of a mix evolve alongside the musical components of a project, as opposed to starting the mixing process after all recording and editing has been completed.
the practice of comparing one’s mix to other completed, professional mixes in related genres.
a term used to describe the process of mix comparisons made on multiple speakers and headphone systems.
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