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The Systematic Mixing Guide Ermin Hamidovic PDF

ForewordThank you for purchasing the Systematic Mixing Guide.The guide is an independent release, and as such, every salecounts. Your honesty and integrity, in light of supporting the manyyears of research and accumulated experience which went intoauthoring this text is greatly appreciated. The forerunner to thisguide originally appeared in its first iteration on an onlineforum. It was intended to provide a quick reference to newermembers of the engineering community regarding common mix processesin the pop, rock and metal genres. As its scope expanded to detailever more (sometimes indirectly) relevant information, it becameobvious that it would need to be contained within something moreholistic and structured. This eBook is the final result. It shouldbe said outright that there is no universal philosophy to mixing.The basic gist of the process is to take a set of individual tracksand make them work in concert with each other. Everything beyondthat is almost entirely subjective. This book details my personalapproach to mixing - a mindset that I've tried to develop andrefine in a way that, at least to me, is as rational and methodicalas possible. My hope is to give you a kick start on your mixingjourney, and overcome some of the many hurdles I struggled with atthe beginning, hopefully in a single, large bound. My firm beliefis that getting the right knowledge comes from knowing to ask theright questions. This book strives to detail and elucidate uponsome of the main concepts behind mixing, as well as showingpractical approaches to real situations, which should serve assolid starting points for your foundation as a mix engineer. Aboveall, I wanted to ensure that you were provided concrete, practicalinformation regarding most topics, rather than just arbitrary ideasand theoretical dissertations. Having said all that, this book isnot one for outright newcomers to the audio realm. It assumes somedegree of understanding and competency with basic audio tools andprinciples. If you don't feel comfortable at the very leastoperating tools such as DAWs, equalizers, compressors, reverbs,delays, or understand concepts such as phase, frequency anddecibels, then it may be worth consolidating this knowledge beforereading on. After putting down (or digitally closing, as it may be)this book, I would hope that you would be more well equipped todeal with any sessions thrown your way and know where to look downthe track for further experience and knowledge as your careercontinues to develop. Happy reading, Ermin Hamidovic Owner,Engineer & Producer - Systematic Productions

The Systematic Mixing Guide Ermin Hamidovic PDF


There is a lot involved in preparing drums for mixing. Thetracking and editing phases are usually substantial. Much of anengineers personality can be found in how they tackle drums. Assuch, I can only hope to give a rough outline of common proceduresand what you may or may not wish to do with drums. For the purposeof this guide Ill assume that we at least have an acceptable rawdrum sound to work with. The very first thing you'll want to doafter the drums on a project are all tracked is pull the DAWsession up and start checking phase. Good phase is critical to rawdrum sounds and can be the difference to something that stays thinand washy, no matter how much you process, to something which isdense and solid. There are two major ways to go about correctingphase after a recording. The old-school way is to simply sit there,listen to the overheads, switching the closemics in and out, andinverting the phase on the channels, listening to hear which sounds'larger'. The dead-give away is the setting that gives the drumsmore body. The more body, generally the more in-phase the drum. Sothat's fairly simple, right? Well, yes, but it's also somewhatlimited. If your drums happen to be 90 degrees out of phase withthe overheads, then inverting the phase will do nothing for you.How do we get around this blind spot? Well, that brings us to oursecond method for correcting phase, which some modern tools havemade very convenient for us. Devices, such as Little Labs' IBP andplug-ins, such as Voxengo's PHA-979 allow us to physically shiftthe phase of the incoming signal in degrees. This flexibilityallows one to place the microphones on a multi-mic'ed source wherethey would individually sound best, and then compensate for phaseafterward. In the past, the inverse order of priority would havealways held true.

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