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שלום Anonymous ::: 2020, 21:50
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musical act magazine המגזין הישראלי לטכנולוגיות באודיו ומוסיקה Musical Act Magazine
Recording & Mixing book
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S.Supporter
הצטרף: 05 יונ' 03
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הודעה פורסם: רביעי 08 דצמ',04 10:17   
Hey Everyone,

I've read your points.
I'm not satisfied yet.
Mixing is a reaction - fine, I agree 100%.
But - you could say the exact same thing to anyone trying to master mixing, be it an amateur at home or an apprentice at Oceanway Studios.

While there are many many different mixing tricks, and no one even knows half of them - I expect even the best engineers keep learning new things all the time - there are still some constants that repeat each time.
Had there not been every engineer would be as clueless as I am when confronted with a new song! Obviously that's NOT the case

Returning to the guitar analogy - assuming the player has talent, then he can learn, say, 2 Deep Purple solos, a solo by Slash, then a solo by Brian May and a couple of others. Then he'll read about the pentatonic scales, etc ... and say to himself: I've seen how bends are used, I've seen how to apply vibrato, hammer ons and pull offs - and I've seen it in the *RIGHT CONTEXT*, I've got some ideas from the solos I've played - let's try to create my own solos now!
Had he *not* played the pre-made solos he would have had a much more difficult time creating his own solos, even after reading 10 books about scales and guitar techniques. Why? Because although all solos are different, all solos have elements in common, some tricks are often repeated, some patterns emerge. We'd like to tell ourselves that every song is different, but there are also unchanging constants. .
You can say solo playing is a reaction, and it is! And in fact, you can't even learn it, it's a talent. But! You *can* learn other people's solos and *experiment* intensively and one hopes that after a while you'll get the hang of it.
The same method should work for mixing.
The current mixing books give us theory, which is good! But what about the practical, real world examples? Anyway, what sane individual tries to learn the theory before "getting his hands dirty"? There's a reason you take the theoretical exam AFTER learning how to drive a CAR, not BEFORE.
What I'm saying is - why doesn't any book try to give us the insight that can only be gained by watching a recording + mixing engineer work on a single song from start to finish?
)or maybe a couple of songs(
That's exactly what a studio-apprentice gets, and I don't.
I'll refer you again to the Rip Rowan point-to-point column (just type +"Rip (Rowan" +"Point to Point" in google and you'll get to it, I think.
There mr. Rowan has explained how he took a single average power-pop song Oasis style and recorded it from start to finish. And then mixed it.
I've learned more by reading that feature than by reading 6 mixing books. Simply by "watching" a professional at work.
True, it did not teach me "how to mix" - no one ever teaches you that!
You learn how to mix by watching specific examples.
You can even say you never really learn how to mix - no good mixing engineer is even truely satisfied with his results, he always strives for better (I guess that's what makes him good).
By the way, the Rip Rowan column is, as he has said himself in an editorial, the most popular column ever to have graced the pages of the magazine - he got more e-mail responses than for any other article he has ever written. So that goes to show you it isn't fluff - I'm talking about a serious gap in the literature here that no one is stepping to fill in!
Like I previously said, any pro here interested in "leharim et hakfafa" I'll gladly pick it up with him/her.

Regards,
Assaf.
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S.Supporter
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הודעה פורסם: רביעי 08 דצמ',04 10:24   
And some additional replies to the other helpful forum members:

Tonemaster - if someone is a talented guitar player, he'll learn by reading the tablature and listening to the original solo, and practicing of course. I have no problem sending him home to practice on his own.

Surreal - the Bob Katz book is about mastering, from a mastering engineer's point of view. (PS I've read it #wink)

Americ - Like I said in my previous post, if each room is different, each mic is different, ... then every engineer would be dumbfounded every time he was confronted by a new song. That is not the case - there are some things that don't change. I'm not suggesting he should *repeat what he's done before* without modifying anything - that's what Allah Harahoom gave him brains for. But he can modify it accordingly. It's easier to modify an existing solution than to come up with a totally new one.

Roynoy- thanks for the recommendations.

Regards,
Assaf.
amit77
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הודעה פורסם: רביעי 08 דצמ',04 13:06   
מישהו מכיר ספר או משהו שעוסק במאסטרינג אבל בפן היותר דיגיטלי?
ולא bob kstz בבקשה
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S.Supporter
הצטרף: 05 יונ' 03
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הודעה פורסם: חמישי 03 פבר',05 16:59   
I'm bumping up this thread to let you know I'm not crazy ... #biggrin
I finally found what I was looking for:

Production Mixing Mastering with Waves
by Anthony Egizii

80$ at amazon.com, and worth every penny.
The book is hardcover, ~ 200 pages, and comes with 7 (!) CDs. It contains explanations on 5 songs that were mixed by the writer, complete with Cubase (and Sonar, and Protools) session files. The book is endorsed by the company itself on its website.
All of the songs are very well mixed (in my opinion) and performed, and the explanations are very detailed and clear. Everything has a reason and that reason is exposed. Another writer would have probably mixed the songs differently, but this does not detract from the fact that these mixes are good (once again, in my opinion).
A 6th chapter deals with mastering.
All-in-all a beautiful book.
Did it make me a grand-master-mixer? Nope ... but did it advance me 2-3 steps in the right direction? I feel so.

Highly recommended!
ReuvenM
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הודעה פורסם: חמישי 03 פבר',05 17:20   
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