<h3 class="h3ResourceTitle">[[*longtitle]]</h3>

<h5 class="h5ResourceCategoryLinks"><a href="#audio">AUDIO FILES</a> -- <a href="#links">LINKS</a> -- <a href="#reading">FURTHER READING</a></h5>


<h3 class="h3ResourceCategory"><a name="audio">AUDIO FILES</a> <span class="spanExampleFile">(To download all WAV examples at once: <a href="[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/MSFTSS/Ch4/MSFTSS_Ch4_WAVs.zip`]]">5MB ZIP</a>)</span></h3>

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<li><strong>Effects Of Monitoring Volume:</strong> If you don't check how your work sounds at a selection of appropriate monitoring volumes, then your mix's overall tonality is more likely to be skewed on account of your ear's level-dependent frequency sensitivity, as in these examples of real-world home-studio mixes submitted to Mix Rescue: a mix monitored too loud [[playerWavMp3Button? &exampleNumber=`04.01` &exampleFile=`Ch4/MS0401_MixedTooLoud_MR0610`]] and a mix monitored too quiet [[playerWavMp3Button? &exampleNumber=`04.02` &exampleFile=`Ch4/MS0402_MixedTooQuiet_MR0704`]].<br><br></li>



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<h3 class="h3ResourceCategory"><a name="links">LINKS</a></h3>

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[[$MSRecommendedLogo]]<br><br>

<li><strong>Affordable Stereo Monitor Controllers:</strong> As mentioned in the book, a dedicated monitor controller is an excellent purchase for the small studio, and for mixing purposes I'd recommend a model with the following features: three independently switchable monitoring outputs (for your nearfields, Auratone-substitute, and grotboxes); a headphone socket; and a mono switch. Here are a couple of options which fit this spec at a reasonable price: SPL's <a href="http://www.spl.info/index.php?id=129&L=1">MTC 2381</a> (which I use myself); Mackie's <a href="http://www.mackie.com/products/bigknob/index.html">Big Knob</a> (just count those <a href="http://www.soundonsound.com/sos/feb05/articles/mackiebigknob.htm"><i>double entendres</i></a>!). There's also the SM Pro Audio <a href="http://www.smproaudio.com/index.php/en/products/monitor-controllers/m-patch-2-1">MPatch 2.1</a>, which is a passive device (which helps with audio quality but doesn't allow for any gain though the system, of course). The Samson <a href="http://www.samsontech.com/products/productpage.cfm?prodID=1650&brandID=2">C-Control</a> is very cheap, and offers a lot of functions, but I personally remain unconvinced of its build quality and ease of repair -- an important consideration given that the pots and switches of a monitor controller inevitably get a lot of wear.<br><br></li>

<li><strong>Automatic Loudness-matching Plug-in:</strong> Adjusting the levels of different reference tracks to match your mix in progress can be a chore, but there is an affordable plug-in from Klangfreund that can help by analysing the tracks during playback and adjusting the channel gains automatically: [[$software_Klangfreund_LUFSMeter]]. It's very easy to work, and I use it all the time these days. <br><br></li>

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<h3 class="h3ResourceCategory"><a name="reading">FURTHER READING</a></h3>



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<li><strong>Suggestions For Reference Material:</strong> The <a href="http://www.digido.com/media/honor-roll.html">Honor Roll of Dynamic Recordings</a>, from the Digital Domain web site of Bob Katz. Some suggestions from Sound On Sound Technical Editor <a href="http://www.soundonsound.com/sos/sep03/articles/testcd.htm#5">Hugh Robjohns</a>. An interesting list at <a href="http://www.johnvestman.com/commercial_cds.htm">Vestman Mastering</a>. For further ideas, check out the <a href="http://www.soundonsound.com/forum">Sound On Sound</a> and <a href="http://www.gearslutz.com/board/">Gearslutz</a> forums and the <a href="http://groups.google.com/group/rec.audio.pro/topics">rec.audio.pro</a> newsgroup. Here are a few example threads to get you started: <a href="http://www.soundonsound.com/forum/showflat.php?Board=MRT&Number=874530">SOS1</a>, <a href="http://www.soundonsound.com/forum/showflat.php?Board=MRT&Number=564048">SOS2</a>, <a href="http://www.soundonsound.com/forum/showflat.php?Board=MRT&Number=493526">SOS3</a>, <a href="http://www.gearslutz.com/board/high-end/555910-what-your-reference-tracks-pop-mixing.html">GS1</a>, <a href="http://www.gearslutz.com/board/high-end/558564-what-your-reference-tracks-rock-mixing.html">GS2</a>, <a href="http://groups.google.com/group/rec.audio.pro/browse_thread/thread/b8cc2e0d8344963/83acdc9c0ee7aa34?lnk=gst">RAP1</a><br><br></li>


<li><strong>Using A Reference Monitoring Level:</strong> Some engineers argue for setting up a constant reference monitoring level using a sound-pressure-level meter. Although I remain to be convinced of the value of this approach myself, here's a good <i>Sound On Sound</i> <a href="http://www.soundonsound.com/sos/may14/articles/reference-monitoring.htm">magazine article</a> about it if you want to experiment with the idea further.<br><br></li>



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