Hal Leonard Recording Method 시리즈의 6권 Mixing & Mastering 입니다.
악기와 보컬 트랙을 최상의 상태로 녹음하고 서로 잘 어울리게 만드는 것은 녹음 과정에서 매우 중요한 단계입니다.
제 2 개정판인 이 책/DVD 패키지에는 최신의 플러그인과 소프트웨어 및 하드웨어를 사용해서 완성도 높은 믹스와 강력한 마스터링 결과물을 만드는 방법들이 자세히 소개되어 있습니다.
또한 마스터까지 끝난 결과물을 CD 제작 및 스트리밍이나 다운로드를 위해 준비하는 방법까지 소개되어 있습니다.
부록 DVD에는 오디오와 비디오 예제들이 담겨있어 프로페셔널처럼 믹싱과 마스터링을 하는 방법들의 이해를 돕고 있습니다.


- Contents -

Audio and Video Examples
Preface

Chapter 1 - Getting Ready
Conceptualizing the Mix
Documenting the Mix
   Track Sheet
   Mix Sheets
   Lyric Sheet
Virtual Track Sheets and Metadata
Basic Setup Procedure
Bounce to Hard Drive
   Digital Recording Hardware
Sync Devices

Chapter 2 - Analog and Digital Considerations
Analog Tape Recorders
   Analog Tape
   Analog Tape Speed
Connecting the Digital Mixer and the Mix Recorder
   Digital Format
   Cables
Connecting the Analog Mixer and Mix Recorder
   Connecting the Mixer and Recorder
   Matching Levels and Impedance
Getting the Recorder Ready: Cleaning and Demagnetizing
   Demagnetizing the Analog Tape Machine
   Cleaning the Analog Recorder
   Tones on the Analog Recorder
   Tones on the Digital Recorder
Playback and Record Alignment and Equalization
   Record EQ
   Calibration Tones
   Reference Tone
Media Selection: CD, DVD, and Magnetic Tape
   Magnetic Tape
   CD and DVD Media
   Comparison of Reflective Surfaces
   Storing Magnetic Tape
Time Code
   Striping SMPTE
   Getting the Sequencer to Follow SMPTE
Starting the Mix: Zeroing the Board
Outboard Gear to Have on Hand

Chapter 3 - Monitoring
Characteristics of an Excellent Studio Monitor
   Balanced Frequency Response
   Monitor Proximity
   Excellent Transient Response
   Low Distortion
   Efficient Power
   Durability and Efficiency
   The Right Monitor for You
   Multiple Sets of Monitors
The Mixing Environment
   The Room
   Dimensions and Angles
   Absorption
   Portable Acoustic Solutions
Setting Up Your Monitor System
   Monitoring Configurations
   The Real-Time Analyzer (RTA)
Tracking and the Mixdown
Comparison to Other Projects

Chapter 4 - Mixing Theories
Mix Approach
The Arrangement
Signs of an Amateur Musical Recording
   Lack of Consistent Focal Point
   No Contrast
   Excessively Wide Dynamic Range
   Low Levels
   Noisy, Dull, and Lifeless Mixes
   Level-Dominating Outbursts
   Distant, Sterile Mixes That Lack Intimacy
   Dull and Uninteresting Sounds
   Unsatisfactory Instrumental Solo Levels
Characteristics of a Good Mix
   Strong, Solid, Yet Controlled Lows
   Mids Distributed Evenly Among Various Instruments
   Strong, Smooth Highs That Are Easy To Listen To
   Balance
   Depth
   Width
   Momentum
   Consistent Playback Quality
   Sounds Good in Stereo, Surround, and Mono
   Consistent Focal Point throughout the Song
   Controlled and Appropriate Use of Effects
   Motion
   Inclusion of Acoustic Information
   Simplicity
Mixing Styles
   East Coast (New York)
   West Coast (Los Angeles)
   Southern (Nashville)
   European (London)
Mix-Building Concepts
   Ineffective Approaches to Mixing
   Using Dynamics Processors to Create a Blend
Arranging during Mixdown
   Multiple Mixes
Mix Versions
   Stems
   Different Mixes

Chapter 5 - Imaging
The Spherical Approach to Panning and Positioning
Speaker Position and Choice
Mic Techniques
Panning
Reverberation
   Space in a Space
   Combining Wet and Dry
   Delay
   Panning
Chorus, Flanger, and Phase Shifter Effects
Monitors and Your Stereo Image

Chapter 6 - Mixing
Equalization: The Cumulative Effect
   Combining EQ
   Allocating EQ across the Audible Spectrum
   Fitting the Puzzle Together
   Practicing
   Sweeping a Peak to Find a Problem
Basic Procedures for Building the Mix
Drums
   Combining an Excellent Drum Kit and an Excellent Drummer
   Kick Drum
   Snare Drum
   Live Toms
   Drum Set Overheads (Live)
   Drum Machines, Sound Modules, and Sample Libraries
Bass Guitar
Mixing Guitars
   Acoustic Guitar
   Dynamic Control
   Electric Guitar
   Keyboards
Lead Vocal
   Intonation
   Compression
   Expander
   Vocal EQ
   Exciter
   Simple Delay
   Add Backing Vocals
Rhythmic Keyboards and Rhythm Guitars
   Filling in the Holes with the Guitar or Keys
Lead Lines and Solo Parts

Chapter 7 - Automation
Analog Mixer Automation Systems
   VCA-Based Automation
   Automation Data Time Reference
Digital Mixer Automation Systems
Basic Automation Types
   Snapshot Automation
   Dynamic Automation
Automation Parameters
   Mutes
   Pan
   Function of Fader Motors in the Digital Domain
   Graphic Automation
   Snapshot Automation
Operational Procedures
   Saving
   Undo and Redo
   Building Automation
Software Plug-Ins
Mix Procedure Using Automation
   Inserts
   Write Mutes
Documenting the Mix
   Outboard Gear Without Patch-Storage Capabilities
   Locate Points and Markers
Copy Moves and Settings
Digital/Plug-In Equalization
Dynamic Control and Special Effects
Automation Data Storage Format
Audio Storage Formats
   Hard Disk
   DAT
   CD or DVD Recorder
VU Mix Levels
Peak Level
Fades
Summary

Chapter 8 - Pulling It Together
Predetermine the Mix Density
Develop Your Own Sonic Signature
Blending the Drums and Bass
Blending Electric Guitars
Blending Acoustic Guitars
   Simple Acoustic Production
   Acoustic Guitar with the Band
   Creating the Lead Vocal Sound
   Intelligibility
   Clarity
   Consistent Audibility
   Dominance of the Appropriate Mix Space
Perfectly Controlling Ambience
Appropriate Vocal Balance with the Instrumentation
Procedures for Creating a Good Lead Vocal Sound
   Compression
   Equalization
   Effects
Blending Backing Vocals
   Level Control
   Equalization
   Effects
Blending Backing Vocals
   Level Control
   Equalization
   Find the Melody
   Watch Out for the High Parts
   Thin the Thick and Thicken the Thin
   Don't Over-Bass the Bass
   Panning
   Compression/Limiting
Emphasize the Important Ingredients
Eliminate Unimportant Ingredients
Include High, Mid, and Low Frequencies
   High Frequencies in the Mix
   Midrange Frequencies in the Mix
   Low Frequencies in the Mix
Classic Recordings: How'd They Do That?
Surround Mixing
   Layout
   Mixdown Formats
   Surround Master Track Assignments
   Stereo Compatibility

Chapter 9 - Getting Ready to Master
Preparing the Analog Master
   Tools for Razorblade Editing
   Procedure for Razorblade Editing
Preparing the Digital Master
   Selecting the Edit Point
   Shortening, Lengthening, and Replacing
Sequencing the Album/Song Order
   Spacing between Songs
   Save It for the Mastering Engineer
Timing Issues for Tape and Vinyl
Stereo Master Preparation Considerations
   Technical Notes
   Reference Tones
Surround Considerations
   Lossy Versus Lossless

Chapter 10 - Mastering
To Master or Not to Master
   Should You Do Your Own Mastering?
   What's the Advantage to Doing Your Own Mastering at Home?
   The Advantage to Hiring an Experienced Mastering Engineer
Acoustic Considerations
Monitoring
   Speakers
   Volume
Digital Versus Analog
   Should You Use a Digital or an Analog Source for Mastering?
Mastering to Error-Correcting Recorders
   Errors
   Data Protection
Digital Modeling
Cabling Considerations
   Some Cable Theory
   Do Cables Really Sound Different?
   Digital-Interconnect Cables
Assembling the Album
Equalizing
   Air
   Highs
   Mids
   De-Essing
   Lows
   Software Versus Hardware Equalizers
Noise Reduction
Real-Time Analyzer (RTA)
   Acoustical RTA Measurements
   Electronic Evaluation of Frequency Content
Levels
   Normalize
   Real Versus Apparent Levels
   The Highpass Filter
Image Enhancement and Reverberation
Limiting: How to Sound Loud
   How Hot Is Hot Enough?
   Software Versus Hardware Limiting
De-Essing
The CD-Mastering Environment
   Write Modes
   Red Book
   Scarlet Book
   Yellow Book
   Green Book
   Orange Book, Parts I and II
   White Book
   Blue Book/CD-Extra
   PQ Subcodes
   ISRC Code
   Emphasis
   SCMS
   Track Number
   Indexes
   Noise Shaping
   Image Files
   Dither
A Systematic Approach to the Mastering Process
Summary

Index

Test Answers