320: – The process of reducing the dynamic range or difference between loudest and quietest parts of a signal. This is done by reducing the signal volume after a user-adjustable threshold is hit. The ratio of reduction to gain above the threshold is often also controllable, as well as the time it takes for reduction to activate (attack) or release. Most compressors will also have a makeup gain control, used to apply a boost after the gain reduction is replied to compensate for the quieter signal. Compression has many uses in the mixing process, from evening out vocal volume to enhancing drums.
575:, might have its left channel sent to the left-rear speaker and its right channel sent to the center speaker. The piano might also be sent to a reverb having its left and right outputs sent to the left-front speaker and right-rear speaker, respectively. Thus, multiple clean stereo recordings surround the listener without the smearing comb-filtering effects that often occur when the same or similar sources are sent to multiple speakers.
210:
140:, all sounds and effects that were to be part of a recording were mixed simultaneously during a live performance. If the recorded mix was not satisfactory, or if one musician made a mistake, the selection had to be performed over until the desired balance and performance was obtained. The introduction of multi-track recording changed the recording process into one that generally involves three stages:
546:. Additionally, reverb and delay effects will often be sent to the rear speakers to create a more realistic sense of being in an acoustic space. For the case of mixing a live recording that was performed in front of an audience, signals recorded by microphones aimed at, or placed among the audience are sent to the rear speakers to make the listener feel as if they are a part of the audience.
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recordings- e.g. the bass drum and snare drum. Expanders can also be set up so that when a signal drops below a set threshold, it will reduce gain until the output signal is forced below a certain level, and continue to hold the gain at that level until the input rises above the threshold. This application of expansion is called gating.
245:
of two categories: processing and configuration. Processing controls are used to manipulate the sound. These can vary in complexity, from simple level controls, to sophisticated outboard reverberation units. Configuration controls deal with the signal routing from the input to the output of the console through the various processes.
31:
292: – The process of attenuating (lowering) the level of a signal. This is by far the most basic audio process, appearing on virtually every effect unit and mixer. Utilizing controlled fades is the most basic step of audio mixing, allowing more volume for prominent elements and less for secondary elements.
133:. The possibility for a microphone to be connected remotely to a recording machine meant that microphones could be positioned in more suitable places. The process was improved when outputs of the microphones could be mixed before being fed to the disc cutter, allowing greater flexibility in the balance.
244:
Mixing consoles can be large and intimidating due to the exceptional number of controls. However, because many of these controls are duplicated (e.g. per input channel), much of the console can be learned by studying one small part of it. The controls on a mixing console will typically fall into one
518:
mixing environment, the ability to pan mono or stereo sources and place effects in the 5.1 soundscape and monitor multiple output formats without difficulty can make the difference between a successful or compromised mix. Mixing in surround is very similar to mixing in stereo except that there are
70:
are commonly applied to individual tracks, groups of tracks, and the overall mix. In stereo and surround sound mixing, the placement of the tracks within the stereo (or surround) field are adjusted and balanced. Audio mixing techniques and approaches vary widely and have a significant influence on
335:
the harsh sound of limited audio, morphing the wave instead of completely decapitating it (by removing part of the waveform entirely, intense distortion and vastly altered tones can occur.) Softer limiters are used with generous amounts of compression to create a more consistently loud track with
362: – Equalization is a broad term for any device that can alter parts of a signal frequency response. Some EQs use a grid of faders or knobs which can be arranged to shape each frequency, whereas others use bands that can target and subsequently boost or cut selectable series of frequencies.
295:
Boost – The process of amplifying a signal. Boosting is usually done using extremely slight amounts of amplification, enough to raise a signal without pushing it to the point of distortion. However, when using audio tape as opposed to recording on to a computer, sometimes a signal will be
227:, mixing desk, mixing board, or software mixer) is the operational heart of the mixing process. Mixers offer a multitude of inputs, each fed by a track from a multitrack recorder. Mixers typically have 2 main outputs (in the case of two-channel stereo mixing) or 8 (in the case of surround).
339:
Dynamic expansion – Expansion
Dynamic expansion is essentially compression with an inverted threshold- any signal below a certain threshold is dynamically reduced while signals above the threshold remain untouched. Expansion is most commonly used to give volume to certain elements of
336:
less volume fluctuation, and harder limiters can be used as distortion effects or emergency safeties to protect large speaker systems from blowing out. Many analog amplifiers are fitted with their own basic limiters to prevent the high-voltage circuitry from overloading and blowing out.
125:
system utilized a small horn terminated in a stretched, flexible diaphragm attached to a stylus which cut a groove of varying depth into the malleable tin foil of the cylinder. Emile
Berliner's gramophone system recorded music by inscribing spiraling lateral cuts onto a vinyl disc.
542: – With this approach, the mix will still sound very much like an ordinary stereo mix. Most of the sources, such as the instruments of a band, backing vocals, and so on, are panned between the left and right speakers. Lead sources such as the main vocal are sent to the
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techniques. These processes, such as equalization, compression, sidechaining, stereo imaging, and saturation are used to make each element as audible and sonically appealing as possible. The mix engineer also will use such techniques to balance the
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pan sources within a much wider and more enveloping environment. In a surround mix, sounds can appear to originate from many more or almost any direction depending on the number of speakers used, their placement and how audio is processed.
155:
were introduced during the 1960s. The ability to record sounds into separate channels made it possible for recording studios to combine and treat these sounds not only during recording, but afterward during a separate mixing process.
413:. This is an important technique in creating the illusion of layered sound from in front of the speaker to behind it. Before the advent of electronic reverb and echo processing, physical means were used to generate the effects. An
300:(overdriving) a digital signal will simply result in blasts of apparent white noise, and is almost universally regarded as unpalatable. Volume control units typically feature the ability to both boost and attenuate a signal.
620:
The left and right surround channels are blended with the left and right front channels. The center channel is blended equally with the left and right channels. The LFE channel is either mixed with the front signals or not
330:
it down, allowing no signal above the threshold. Many limiting units also have built-in compressors that reduce the amount of audio actually passing the threshold. Many limiters also use digital algorithms to
436:, it also can be considered a process that affects space since it is used to give the impression of a source coming from a particular direction. Panning allows the engineer to place the sound within the
592:
sound, this enables additional speakers to represent height channels, with as many as 64 unique speaker feeds. This has application in concert recordings, movies and videogames, and nightclub events.
475:
to stereo, and stereo to mono. Because these are common scenarios, it is common practice to verify the sound of such downmixes during the production process to ensure stereo and mono compatibility.
417:, a large reverberant room, could be equipped with a speaker and microphones. Signals were then sent to the speaker and the reverberation generated in the room was picked up by the two microphones.
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do anything they want. Instruments can appear to originate from anywhere, or even spin around the listener. When done appropriately and with taste, interesting sonic experiences can be achieved.
306: – The process of altering the balance of an audio signal between the left and right channels of a stereo signal. The pan of a signal may be modified via a simple two-way pan control or an
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390:
is a combination of high- and low-pass filters, also known as a telephone filter (because a sound lacking in high and low frequencies resembles the quality of sound over a telephone).
571: – This approach treats the speakers in a surround sound system as a multitude of stereo pairs. For example, a stereo recording of a piano, created using two microphones in an
353:, consisting of (on average) frequencies from 20 Hz to 20,000 Hz (20 kHz.) There are a variety of processes commonly used to edit frequency response in various ways.
486:, a separate stereo mix can be included along with the surround mix. Alternatively, the program can be automatically downmixed by the end consumer's audio system. For example, a
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The alternative channel configuration can be explicitly authored during the production process with multiple channel configurations provided for distribution. For example, on
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recordings. Another use is to distinguish among auditory objects; all sound having one reverberant character will be categorized together by human hearing in a process called
326: – Using a compression ratio of 10:1 or higher is known as limiting- instead of applying gentle reduction to audio above the threshold, limiters forcibly
121:
developed the first recording machines. The recording and reproduction process itself was completely mechanical with little or no electrical parts. Edison's
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The mixdown process converts a program with a multiple-channel configuration into a program with fewer channels. Common examples include downmixing from
810:
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in 1979 offered multi-track recording and mixing technology that did not require the specialized equipment and expense of commercial recording studios.
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deliberately overdriven very hard to achieve an intense yet soft, 'rounded off' style of distortion known as tape saturation. Distortion from
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Summing signals together, which is normally done by a dedicated summing amplifier or, in the case of a digital mixer, by a simple algorithm.
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mix, but this may be frustrating if the console is not specifically designed to facilitate signal routing, panning, and processing in a
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product. In the process of combining the separate tracks, their relative levels are adjusted and balanced and various processes such as
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is increased. A number of pseudostereo recording and mixing techniques are known from the viewpoint of audio engineers and researchers.
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on a makeshift 8-track recorder. In the mid-to-late 1990s, computers replaced tape-based recording for most home studios, with the
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196:(DAWs) to accomplish recording and mixing previously done with multitrack tape recorders, mixing consoles, and outboard gear.
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405: – Reverbs are used to simulate acoustic reflections in a real room, adding a sense of space and depth to otherwise
1006:
Levinit, Daniel J. (2004). "Instrument (and vocal) recording tips and tricks". In
Greenbaum, Ken; Barzel, Ronen (eds.).
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There are two common ways to approach mixing in surround. Naturally, these approaches can be combined in any way the
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Electronic recording became more widely used during the 1920s. It was based on the principles of electromagnetic
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552: – Instead of following the traditional ways of mixing in stereo, this much more liberal approach lets the
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the listener. In addition to the horizontal panoramic options available in stereo, mixing in surround lets the
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Lower levels of these sources may also be sent to the rear speakers in order to create a wider stereo image.
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that continuously modulates and changes the pan of a signal. Panning is often used in the mixing process to
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of the final audio wave; removing unnecessary frequencies and volume spikes to minimize the interference or
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Modern mixing emerged with the introduction of commercial multi-track tape machines, most notably when
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The frequency response of a signal represents the amount (volume) of every frequency in the human
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1092:. Current Research in Systematic Musicology. Vol. 4. Cham: Springer. pp. 299–340.
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375:
374: – Filters attenuate part of the audio spectrum. There are various types of filters. A
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1086:"Source Width in Music Production. Methods in Stereo, Ambisonics, and Wave Field Synthesis"
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and the quality of sound recordings involved. The process is generally carried out by a
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Routing of source signals to internal buses or external processing units and effects.
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382:(high-cut) is used to remove unneeded treble. These are most often used as a way to
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proving popular. In the mid-1980s, many professional recording studios began to use
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1296:(Third ed.). Dolby Laboratories, Inc. 2014. pp. 69–103. Archived from
1265:"Dolby's Atmos technology gives new meaning to surround sound, death from above"
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687:(Third ed.). Indianapolis, Indiana: Wiley Publishing, Inc. p. 249.
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Recently, a third approach to mixing in surround was developed by surround
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Any console with a sufficient number of mix busses can be used to create a
251:(DAW) can perform many mixing features in addition to other processing. An
444:
field, giving the illusion of a sound's origin having a physical position.
30:
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environment. Whether working in an analog hardware, digital hardware, or
51:
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creates a stereo-like sound image from monophonic sources. This way the
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An extension to surround sound is 3D sound, used by formats such as
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844:"Studio Recording Software: Personal And Project Audio Adventures"
208:
1062:
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a given mix to improve the clarity of the individual elements. A
378:(low-cut) is used to remove unneeded bass from a sound source. A
1334:
981:(6th ed.). Oxford, United Kingdom: Elsevier Inc. p.
754:(6th ed.). Oxford, United Kingdom: Elsevier Inc. p.
721:(6th ed.). Oxford, United Kingdom: Elsevier Inc. p.
267:(digital) are used for each track or group to perform various
1199:(7th ed.). Oxford, United Kingdom: Focal Press. p.
1129:(5th ed.). Oxford, United Kingdom: Focal Press. p.
34:
Digital Mixing
Console Sony DMX R-100 used in project studios
263:
Outboard audio processing units (analog) and software-based
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the track elements, simulating the placement of live bands.
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gives a DAW the same user interface as a mixing console.
968:
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949:(3rd ed.). Oxford, United Kingdom: Elsevier Inc.
846:. studiorecordingsoftware101.com. 2008. Archived from
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program to stereo for playback through two speakers.
240:
On-board processors with equalizers and compressors.
1722:
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702:. Oxford, United Kingdom: Focal Press. p. 109.
1023:"Pseudo-Stereo Techniques. Csound Implementations"
433:
1090:Studies in Musical Acoustics and Psychoacoustics
656:Huber, David Miles; Runstein, Robert E. (2001).
651:
649:
647:
1174:"Podcast Follow Up - Surround Mixdown Formats"
878:(2nd ed.). Sanctuary Publishing. p.
550:Complete Surround/All speakers treated equally
1346:
1290:Authoring for Dolby Atmos Cinema Sound Manual
1191:Huber, David Miles; Runstein, Robert (2010).
700:From Demo to Delivery. The production process
8:
284:Processes that affect signal volume or level
1326:Modern Mixing Mixing Articles and Tutorials
1155:"What Is Downmixing? Part 1: Stereo (LoRo)"
94:prepares the final product for production.
46:is the process of optimizing and combining
1353:
1339:
1331:
74:Audio mixing techniques largely depend on
1760:Music technology (electronic and digital)
1121:Bartlett, Bruce; Bartlett, Jenny (2009).
940:
938:
936:
934:
932:
930:
928:
926:
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230:Mixers offer three main functionalities.
180:topped the charts in 1983 with the song "
1063:Audio Engineering Society Convention 118
973:Rumsey, Francis; McCormick, Tim (2009).
867:
865:
746:Rumsey, Francis; McCormick, Tim (2009).
713:Rumsey, Francis; McCormick, Tim (2009).
685:Home Recording For Musicians For Dummies
29:
1010:. Natick: A K Peters. pp. 147–158.
811:"The emergence of multitrack recording"
643:
613:
7:
259:Outboard and plugin-based processing
27:Audio mixing to yield recorded sound
97:Audio mixing may be performed on a
25:
1601:Recording studio as an instrument
1263:Hidalgo, Jason (April 26, 2012).
345:Processes that affect frequencies
1777:
1088:. In Schneider, Albrecht (ed.).
40:sound recording and reproduction
182:Sweet Dreams (Are Made of This)
1125:Practical Recording Techniques
698:Hepworth-Sawyrr, Russ (2009).
1:
1172:Thornton, Mike (March 2012).
947:Sound for Film and Television
662:(5th ed.). Focal Press.
1784:Record production portal
1098:10.1007/978-3-319-47292-8_10
907:. Focal Press. p. 566.
90:may assist. After mixing, a
1809:Sound production technology
1755:Music technology (electric)
1195:Modern Recording Techniques
1055:Pseudostereophony Revisited
782:Modern Recording Techniques
779:Huber, David Miles (2001).
659:Modern recording techniques
569:Multi Stereo Surround (MSS)
434:process that affects levels
432: – While panning is a
422:Processes that affect space
184:", recorded by band member
136:Before the introduction of
1830:
945:Holman, Tomlinson (2010).
395:Processes that affect time
249:Digital audio workstations
216:
194:digital audio workstations
113:In the late 19th century,
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1052:Faller, Christof (2005).
519:more speakers, placed to
103:digital audio workstation
1021:Cabrera, Andrés (2011).
502:Mixing in surround sound
170:recorded his 1982 album
159:The introduction of the
1225:"Surround Sound Mixing"
785:. Focal Press. p.
213:A simple mixing console
82:, though sometimes the
1246:"Dolby Atmos for Home"
1227:. www.mix-engineer.com
280:between each element.
214:
35:
1672:Ghostwriters in music
903:Izhaki, Roey (2008).
683:Strong, Jeff (2009).
456:apparent source width
253:audio control surface
212:
48:multitrack recordings
33:
1084:Ziemer, Tim (2017).
1033:(14): Paper number 3
872:White, Paul (2003).
831:Eurythmics Biography
460:listener envelopment
138:multitrack recording
977:Sound and Recording
850:on February 8, 2011
750:Sound and Recording
717:Sound and Recording
123:phonograph cylinder
71:the final product.
1586:Hip hop production
875:Creative Recording
580:Mixing in 3D sound
573:ORTF configuration
508:5.1 surround sound
473:5.1 surround sound
411:auditory streaming
215:
176:with one, and the
92:mastering engineer
36:
1791:
1790:
1393:Critical distance
1210:978-0-240-81069-0
1140:978-0-240-81144-4
1107:978-3-319-47292-8
992:978-0-240-52163-3
956:978-0-240-81330-1
914:978-0-240-52068-1
889:978-1-86074-456-3
765:978-0-240-52163-3
732:978-0-240-52163-3
602:Live sound mixing
458:or the degree of
168:Bruce Springsteen
153:8-track recorders
16:(Redirected from
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1362:Music production
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88:recording artist
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512:surround sound
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494:may downmix a
484:Super Audio CD
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225:mixing console
219:Mixing console
217:Main article:
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161:cassette-based
148:, and mixing.
119:Emile Berliner
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99:mixing console
60:surround sound
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18:Mixing (audio)
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1804:Audio mixing
1775:
1740:Loudness war
1707:Ghost singer
1682:Orchestrator
1677:Horn section
1560:Reverse echo
1520:Equalization
1490:Delay effect
1440:Punch in/out
1435:Ping-ponging
1403:Effects unit
1398:Effects loop
1388:Audio mixing
1387:
1378:Audio filter
1305:. Retrieved
1298:the original
1289:
1283:
1272:. Retrieved
1258:
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1229:. Retrieved
1219:
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1159:TVTechnology
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1067:. Retrieved
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1035:. Retrieved
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905:Mixing Audio
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848:the original
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814:. Retrieved
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415:echo chamber
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186:Dave Stewart
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131:transduction
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76:music genres
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64:equalization
44:audio mixing
43:
37:
1730:Click track
1714:Vocal coach
1657:Backup band
1637:professions
1611:Turntablism
1485:Compression
1470:Pitch shift
1430:Overdubbing
1370:Engineering
1065:. Barcelona
588:. Known as
586:Dolby Atmos
318:Compressors
308:auto panner
164:Portastudio
146:overdubbing
68:compression
1798:Categories
1662:Bandleader
1621:Xenochrony
1576:aesthetics
1540:Noise gate
1500:Distortion
1462:processing
1425:Microphone
1307:7 December
1274:2012-06-01
1231:2010-01-12
638:References
535:sees fit.
492:sound card
488:DVD player
467:Downmixing
269:processing
178:Eurythmics
1572:Practices
1475:Auto-Tune
1450:Tape loop
1420:Diffusion
854:March 20,
480:DVD-Audio
384:declutter
223:A mixer (
200:Equipment
142:recording
1647:Arranger
1606:Sampling
1530:Flanging
1408:Talk box
1269:Engadget
816:June 17,
596:See also
521:surround
442:surround
324:Limiters
298:clipping
278:clashing
173:Nebraska
101:or in a
1550:Pumping
1515:Ducking
1460:Signal
429:Panning
402:Reverbs
371:Filters
328:flatten
312:arrange
304:Panning
109:History
1750:Medley
1745:Mashup
1555:Reverb
1545:Phaser
1207:
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1069:1 June
1037:1 June
989:
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438:stereo
333:soften
290:Faders
56:stereo
1765:Remix
1723:Other
1633:Roles
1591:Lo-fi
1494:STEED
1301:(PDF)
1294:(PDF)
1059:(PDF)
621:used.
608:Notes
274:space
1309:2014
1205:ISBN
1135:ISBN
1102:ISBN
1071:2018
1039:2018
1031:2011
987:ISBN
951:ISBN
909:ISBN
884:ISBN
856:2010
818:2018
791:ISBN
760:ISBN
727:ISBN
664:ISBN
117:and
66:and
52:mono
1509:ADT
1201:559
1131:484
1094:doi
983:390
880:335
787:321
756:169
723:168
516:DAW
490:or
482:or
440:or
407:dry
86:or
58:or
38:In
1800::
1667:DJ
1267:.
1248:.
1203:.
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20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
