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--
-- Dumping data for table `modx_site_content`
--

INSERT INTO `modx_site_content` VALUES (1,'document','text/html','Home','','','index','',1,0,0,0,0,'<a href=\"[[~418]]\"><img class=\"imgMainLogo\" alt=\"Cambridge Music Technology\" src=\"[[$sitePrefixCMT]]SitePix/CMTLogo.jpg\"></a>','<p>Welcome to the Cambridge Music Technology web site, where you can find out more about the studio services, workshops, and publications offered by award-winning engineer and best-selling author <a href=\"[[~376]]\">Mike Senior</a>. Please choose the appropriate link below:</p>\r\n</td></tr></table>\r\n\r\n[[$RSFTSSPicAndBlurb]]\r\n\r\n<table><tr><td class=\"tdMainText\">\r\n<p><strong><a href=\"[[~369]]\">Free On-line Recording Resources</a>:</strong> Hundreds of in-depth audio demonstration files, the ever-expanding <a href=\"[[~362]]\">\'Recording Secrets\' Library Of Microphone Positions</a>, a selection of freely downloadable <a href=\"[[~417]]\">backing tracks and documentation for overdubbing practice</a>, detailed budget-friendly hardware/software recommendations, and lots of links to further reading.</p>\r\n</td></tr></table>\r\n\r\n[[$MSFTSSPicAndBlurb]]\r\n\r\n<table><tr><td class=\"tdMainText\">\r\n<p><strong><a href=\"[[~22]]\">Free On-line Mixing Resources</a>:</strong> Check out these extensive on-line resource pages, which provide hundreds of in-depth audio demonstration files, the huge <a href=\"[[~373]]\">\'Mixing Secrets\' Free Multitrack Download Library</a> for students/teachers, detailed budget-friendly hardware/software recommendations (including <a href=\"[[~26]]#freeware\">Mike\'s Freeware Top Ten</a>), dozens of mix critiques (with audio files) for ear-training in <a href=\"[[~350]]\">The Great \'Blood To Bone\' Mixoff</a>, and lots of links to further reading.</p>\r\n\r\n<p><strong><a href=\"[[~419]]\">Studio Recording &amp; Mixing Services</a>:</strong> Bring some specialist knowledge on board for your next production to improve the quality of your results, and see for yourself how successfully big-studio techniques can be adapted for even modest studio setups. As you might guess from Mike\'s \'<a href=\"[[~376]]#MixRescue\">Mix Rescue</a>\' and \'<a href=\"[[~376]]#MixReview\">The Mix Review</a>\' magazine columns, he specialises in mixing work, but he can also offer advice and hands-on guidance at the recording stage to avoid many common mixdown problems at source.</p>\r\n\r\n<p><strong><a href=\"[[~418]]\">Training &amp; Advice For Small-studio Users</a>:</strong> Benefit from Mike\'s mixing and production skills, as well as his latest research into the techniques of the world\'s most famous producers and engineers. Options include <a href=\"[[~418]]#ProductionCritiques\">Production Critiques</a>, <a href=\"[[~418]]#FlyOnTheWall\">\'Fly On The Wall\' Mixing Sessions</a>, <a href=\"[[~418]]#MixTraining\">One-on-one Mix Training</a>, and <a href=\"[[~418]]#StudioVisits\">Studio Visits</a>.</p>',1,6,0,1,1,1,1425127635,1,1458382453,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'index.htm',0,0,1,NULL),(27,'document','text/html','MSFTSS_Ch02Resources_FocusriteVRM','Focusrite VRM Box: The \'Mixing Secrets\' Verdict','','ms-ch2-FocusriteVRM','',1,0,0,23,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<p class=\"pIntroText\">Focusrite\'s <a href=\"http://uk.focusrite.com/usb-audio-interfaces/vrm-box\">Virtual Reference Monitoring</a> technology offers a speaker-style listening experience for people working on headphones, modelling the sound of high-end speakers in a professional studio as well as the less-than-ideal sonics of various typical end-user listening systems. How effective is this system in practice when it comes to real-world mixing using the company\'s VRM Box?</p>\r\n\r\n<p>Because I go into a lot of detail about affordable monitoring options in my book \'<a href=\"MixingSecrets.htm\">Mixing Secrets For The Small Studio\'</a>, I\'ve had quite a few enquiries from readers about whether Focusrite\'s eminently affordable VRM Box is worth considering for serious mix work. So I decided a couple of months ago to just buy one for myself and put it through its paces, in order to decide who I might be able to recommend it for. Now that I\'ve spent some quality time with it, here\'s a brief report of my findings. Firstly I\'ll just give my subjective reactions to the VRM technology on its own terms, and then I\'ll have a look at the rather involved issue of which specific users might benefit from spending money on it.</p>\r\n\r\n\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#Speakers\">IS THE STEREO IMAGE LIKE LISTENING ON SPEAKERS?</a> -- <a href=\"#BeyondHRTFs\">BEYOND HRTFS</a> -- <a href=\"#Reasons\">REASONS TO USE VRM</a> -- <a href=\"#WorthTheMoney\">IS THE VRM BOX WORTH THE MONEY?</a></h5>\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceXhead\"><a name=\"Speakers\">Is The Stereo Image Like Listening On Speakers?</a></h3>\r\n\r\n\r\n\r\n<p>I tested the VRM box with a pair of Sennheiser HD650\'s, which are a pair of top-of-the-range open-backed mixing headphones that I\'ve had for a few years now and am very familiar with. First things first: how well does the VRM Box simulate the stereo effect of listening on speakers? For me, the answer is \'not tremendously well\', even after giving myself time to acclimatise to the effect (as suggested by some users). While the stereo field isn\'t as much \'inside the head\' when VRM\'s active, it certainly isn\'t arrayed in front of me as I would expect from speakers, and feels much more as if it\'s located above me, and even then feels overly wide. The imaging doesn\'t seem great, either, with the localisation even of extreme-panned (ie. \'virtual\' single-speaker) sources being considerably more vague than I\'d expect of physical hardware boxes. To be fair to Focusrite, though, I\'ve rarely had a decent impression of speaker listening out of any software (and I\'ve tried a few of the available \'crossfeed\' headphone monitoring plug-ins before, as well as things like AKG\'s old Hearo system), and I suspect that this is because they\'re using generalised HRTF data that doesn\'t tally well with my own ears. Let me explain...</p>\r\n\r\n\r\n\r\n<p>One of the reasons that you can tell that something is coming from in front of, behind, or above you is that your head and ear canal effectively apply different EQ curves to sounds coming from different directions. These EQ curves can be measured for different individuals to provide <a href=\"http://en.wikipedia.org/wiki/Head-related_transfer_function\">Head-Related Transfer Functions</a> (HRTFs). The problem is that everyone\'s ear is unique, and the correspondence between the perceived EQ curve and the direction of an incoming sound therefore has to be learned by each of us through experience as we grow up. Because of this, one person\'s HRTF curves may be considerably different to another\'s. In response to this, most manufacturers who want to simulate front/back/up/down localisation over headphones average the HRTF data of many different individuals to create generic curves in an attempt to please as many listeners as possible. By doing this, however, the accuracy of the localisation is compromised to a greater or lesser extent for the majority of listeners. Whether you happen to be one of the lucky few whose ears fit the generic HRTF pretty closely, or one of the unlucky ones (like me) whose ears clearly don\'t conform to the model, is simply a matter of chance.</p>\r\n\r\n\r\n\r\n<p>So it\'s important to qualify my impressions of the imaging by saying that this is something you must try for yourself so that you can form your own judgements before spending any money. And when doing so, please try to studiously ignore comments from other listeners (including me!) saying how good/bad the stereo positioning is and how it does/doesn\'t sound \'exactly like a pair of speakers there in front of me\'!</p>\r\n\r\n\r\n<h3 class=\"h3ResourceXhead\"><a name=\"BeyondHRTFs\">Beyond HRTFs</a></h3>\r\n\r\n\r\n\r\n<p>However, VRM isn\'t just about HRTFs, as Focusrite have been keen to point out. There\'s also some kind of convolution process going on too which simulates the effects of the virtual environment within which you and the modelled speakers are placed. Unfortunately, I\'m not a huge fan of what this is doing to the sound either, from a studio monitoring perspective. The main thing is that all of the three environment options (Professional Studio, Bedroom, Living Room) somehow seem to put a veil over the sound, whichever speaker model you select, in a way that makes the system considerably less revealing than I\'d expect of even the comparatively affordable nearfield monitoring setup I describe in <a href=\"http://kindleweb.s3.amazonaws.com/app/1.0.11.053.093655/KindleReaderApp.html?asin=B004NNUZ5K&containerID=kindleReaderContainer&asinPrice=$29.85&tophostname=www.amazon.com&iframeName=kindleReaderIFrame1303191167912&dp=1\">Chapter 1</a> of the book.</p>\r\n\r\n\r\n\r\n<p>On the one hand, I think this is partly just a tonal thing, because all the modelled speakers sound rather too bassy on my headphones. For all their merits, the Sennheiser HD650s overplay the low end for me, and I\'m just about to supplement them with a pair of Beyerdynamic DT880s for that reason. However, that\'s not the whole story, because it feels to me as if Focusrite have deliberately hyped the bass response of the VRM\'s output to flatter owners of lesser headphones -- perhaps understandable from Focusrite\'s commercial perspective given the likely target market. Even were this not the case, though, the listening experience at sub-100Hz frequencies would still inevitably be quite different to that on speakers, simply because there is a physical sensation of low end from speakers that forms an important part of our overall low-frequency perception, and this cannot be recreated by headphones -- unless perhaps they\'re connected to some kind of motorised gizmo which flaps your trouserlegs around on cue!</p>\r\n\r\n\r\n\r\n<p>In addition, the high frequencies feel too damped for me, almost as if I\'m sat too far away from the tweeters, or off-axis, and this makes it difficult for me to judge high-frequency effects such \'air\' EQ, short stereo \'fizz\' reverbs, and psychoacoustic Exciter-style enhancements. Again, with these issues it may be that your particular brand of headphones compensate to some extent for this tonal character, but it\'s a lottery -- and a lottery that favours the kind of cheaper, tinnier headphones that I wouldn\'t seriously consider for mixing purposes anyway on quality grounds.</p>\r\n\r\n\r\n\r\n<p>Furthermore, I can\'t shake the persistent feeling that all the models of well-known studio monitors sound considerably more coloured, even in the \'Professional Studio\' environment, than I would expect within a real studio space -- as if the frequency response is lumpier and more afflicted by resonance issues. My current theory (assuming Focusrite haven\'t done anything odd in measuring the speakers concerned) is that VRM effectively clamps your head in a vice within the virtual listening space, which means that you don\'t benefit from the mental \'averaging\' that your hearing system naturally applies during your natural movements while working in a real room. Whereas you can mentally \'factor out\' the tone of the room to a significant extent by simply moving about in it (and thereby approach a more direct understanding of what the speakers are telling you), this is not something you can do with the VRM Box. (It\'s worth noting, though, that the VRM software shipped with Focusrite\'s Saffire Pro 24 DSP audio interface does give you the option to move the listening position within the virtual space. I\'ve not tested it personally, but there\'s a possibility that it might help address this particular concern.)</p>\r\n\r\n\r\n\r\n<p>Tonality isn\'t the only issue, though, because I also think the reverb simulation has been pushed too far for my taste, even in the \'Professional Studio\' environment. While it\'s undeniable that one problem with mixing on headphones is that you don\'t get an idea of how additional listening-room reverb is going to affect end-user speaker listeners, that judgement is more what grotbox listening is for, not studio monitoring. From studio monitors I want to be able to hear into the delay/reverb tails and low-level recorded details, do meaningful A/B comparisons while mix-referencing, and make critical subjective quality/tone judgements which will carry for hi-fi listeners and audiophiles. This is something I can\'t do with VRM, simply because the room covers too many important details in a kind of blanket. Levels of subtle \'blend\' effects are particularly difficult to judge, for example, because the VRM reverb already acts to blend the sounds so you can\'t easily tell how much additional help any individual instrument needs in this regard.</p>\r\n\r\n<h3 class=\"h3ResourceXhead\"><a name=\"Reasons\">Reasons To Use VRM</a></h3>\r\n\r\n\r\n\r\n<p>Despite all of the above, I do think that the VRM box has the potential to play a useful role in your small-studio mixing process, as long as you\'re careful only to play to its strengths. In my opinion this unit can\'t substitute for a set of nearfield monitors in any useful way, because to my ears it doesn\'t fulfil most of the fundamental purposes of nearfields, as set out at the start of Chapter 2 (page 32):</p>\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li>It doesn\'t really show what\'s going on at the mix\'s low-frequency extreme, and the aforementioned HF damping effect also restricts the degree of insight you\'re likely to get into the high-frequency extreme.<br><br></li>\r\n\r\n\r\n\r\n<li>It doesn\'t expose the quality and internal detail of sounds in the way I\'d expect of the professional speakers modelled. The tone of all the speakers feels disconcertingly coloured during extended listening and subtle background effects are lost under the simulated room sound.<br><br></li>\r\n\r\n\r\n\r\n<li>The fidelity of the stereo imaging depends a great deal on your specific ears, and is unlikely to match the precision or speaker-translation capabilities of a real speaker setup.<br><br></li>\r\n\r\n\r\n\r\n<li>I don\'t think it\'s going to impress clients any more than a normal pair of headphones will, even if it happens to drive their particular brand of headphones loud enough to liquidise their inner ear. (For the record, my Sennheisers aren\'t the most sensitive cans in the world, so I didn\'t actually have the option to crank the output even if I\'d wanted to. They were loud enough for most normal purposes, though.)<br><br></li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<p>Neither do I think the VRM Box is a suitable Auratone-substitute. Sure, if you select the VRM\'s Auratone 5C model you\'ll get an approximation of how it sounds from a frequency-balance perspective, although this will inevitably depend a good deal on the headphones you happen to be using. However, the mid-heavy tone is only one part of what makes single-point mono monitoring so effective for balancing purposes, and the imaging vagaries of VRM, both in terms of direction and distance, make its Auratone 5C model a lot less effective for detailed balancing tasks such as lead-vocal automation -- even if you mono the mix and pan it hard to one side to feed only one of the virtual speakers. In fact, engaging VRM seems to me to provide very little extra insight, as far as pure balance is concerned, beyond that already available when listening to headphones without VRM.</p>\r\n\r\n\r\n\r\n<p>Where the argument for getting a VRM Box seems strongest, to me, is when considering it as a supercharged grotbox simulator. Irrespective of whether the room/speaker models are completely life-like in any absolute sense, what you do still get when switching between them all is a very good sense of how your mix will sound in \'worst case scenario\' situations. In fact, even if you already have several end-user hardware systems to check your mixes on, the VRM box still scores strongly on the basis that it makes it so convenient to switch between them all. In this respect, easily my favourite VRM speaker models were the \'Computer Desktop\', \'Budget Micro System\', and \'LCD 24-inch Flat-Screen TV\' options, simply because they do sound truly horrible! However, it\'s a shame there are no boomboxes, laptops, or mobile phones in the list too, and VRM also misses a trick in providing no model with the speakers side by side, as this kind of \'badly correllated mono\' can be especially ruinous for vocal intellibility -- even the TV screen exhibits distinct (if vague and somewhat narrowed) panning.</p>\r\n\r\n\r\n<h3 class=\"h3ResourceXhead\"><a name=\"WorthTheMoney\">Is The VRM Box Worth The Money?</a></h3>\r\n\r\n\r\n\r\n<p>For me, this question has different answers depending on what monitoring systems you\'ve already got access to. Here are some of the options I can foresee, but feel free to <a href=\"[[~420]]\">get in touch</a> if I\'ve missed out a real-world configuration that you\'d like to have a specific verdict on.</p>\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong>You already have a reasonable stereo nearfield setup, an Auratone substitute, and top-of-the-range mixing headphones:</strong> In this case the VRM Box might nonetheless be worth investigating as an alternative grotbox simulator if translation of your mixes to low-quality end-user systems is a high priority. However, I\'d still also budget for a pair of cheapo PC multimedia speakers so that you can experiment with close speaker spacing and \'playback from another room\' scenarios. (Also, I personally found that installing the VRM software caused the audio interfacing on my studio machine to become unusably unstable, even when I tried to feed the VRM via its SPDIF socket and uninstalled the Focusrite ASIO driver completely. I had to revert my system to a previous drive image to return things to normal. I understand that some other users have apparently also had the odd problem like this on account of conflicts between ASIO drivers, so I\'d consider installing VRM on a separate machine if possible, as I\'ve ended up doing.)<br><br></li>\r\n\r\n\r\n\r\n<li><strong>You already have an Auratone substitute and top-of-the-range mixing headphones:</strong> In this case the VRM box may be of interest not only as a grotbox simulator, but also as a means of presenting you with a more familiar speaker-like stereo image than normally experienced on headphones. While many people who mix regularly on headphones simply get used to the odd stereo picture, and successfully use the mix-referencing process as a means of heading off stereo misjudgements, there are nonetheless those who find it very difficult to make panning decisions without reference to a speaker-like stereo image. However, if you\'re in this latter group then it\'s still essential to audition the VRM Box before you part with any cash, because whether it improves matters very much will depend a great deal on how it matches up with your own unique combination of ears and headphones. (And if you don\'t really need any additional grotbox simulation, then you might want to check out Tone Boosters\' freeware <i><a href=\"http://www.toneboosters.com/tb-isone/\">TB_Isone</a></i>[[$softwareLogoWin]][[$softwareLogoWin]] plug-in first, which actually produces a better front-localised image for me, and also incorporates a distance control that allows you to adjust the amount of virtual room reverb.)<br><br></li>\r\n\r\n\r\n\r\n<li><strong>You already have top-of-the-range mixing headphones:</strong> In this case I think you\'ll improve your mixes most by putting &pound;80 towards an Auratone substitute.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>You\'re using sub-&pound;100 headphones:</strong> In this case I\'d suggest using the cash to trade up to a class-leading pair of mixing headphones instead. (<a href=\"http://www.soundonsound.com/sos/jan10/articles/studioheadphones.htm\">Here are some suggestions</a>.)<br><br></li>\r\n\r\n\r\n\r\n</ul>\r\n\r\n<p>&nbsp;</p>\r\n\r\n[[$MSFTSSPicAndBlurb]]\r\n\r\n<p>&nbsp;</p>',1,6,11,1,1,1,1425499721,1,1435868824,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'ms-ch2-FocusriteVRM.htm',0,0,1,NULL),(4,'document','text/html','MSFTSS_Ch02Resources','Chapter 2: Secondary  Monitoring','','ms-ch2','',1,0,0,23,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#audio\">AUDIO FILES</a> -- <a href=\"#updates\">UPDATES</a> -- <a href=\"#links\">LINKS</a> -- <a href=\"#reading\">FURTHER READING</a></h5>\r\n\r\n\r\n<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/Ch2/MSFTSS_Ch2_WAVs.zip`]]\">12MB ZIP</a>)</span></h3>\r\n\r\n<ul>\r\n<li><strong>StereoTest:</strong> [[playerWavMp3Button? &exampleNumber=`02.01` &exampleFile=`Ch2/MS0201_StereoTest`]] This file contains a repeating pattern of four noise bursts: the first only in the left channel; the second only in the right channel; the third in both channels; and the fourth in both channels, but with the right channel out of polarity with the left channel. On most real-world nearfield monitoring systems, the phantom image of the third noise burst will appear much less well focused than then real images of the first and second bursts. (The fourth noise burst is irrelevant to this particular discussion, but is useful for checking the polarity of stereo speaker rigs.)<br><br></li>\r\n\r\n<li><strong>MonoBalanceShift:</strong> [[playerWavMp3Button? &exampleNumber=`02.02` &exampleFile=`Ch2/MS0202_MonoBalanceShift`]] This audio example demonstrates the middle-versus-sides balance shift when a stereo file is summed to mono. On a reasonably set-up stereo monitoring system, the brass chord should remain at a roughly consistent level as it pans around the image. Listen to the same file in mono, however, and you can hear a clear reduction in level for the hard-panned chords by comparison with the central chords.<br><br></li>\r\n\r\n<li><strong>DrumOverheadsStereoPhase:</strong> [[playerWavMp3Button? &exampleNumber=`02.03` &exampleFile=`Ch2/MS0203_DrumOverheadsStereoPhase`]] In this audio example you can hear a stereo drum overheads recording which is periodically being switched into mono. You can clearly hear some mono-compatibility problems, for example a loss of high end which making the cymbals dull-sounding.<br><br></li>\r\n\r\n<li><strong>SynthPadStereoPhase:</strong> [[playerWavMp3Button? &exampleNumber=`02.04` &exampleFile=`Ch2/MS0204_SynthPadStereoPhase`]] Polarity inversion has been used to artificially widen the stereo image of the synth pad in this audio example. While this makes it appear more impressive in stereo, it also seriously affects its overall level when it\'s summed to mono, as you can hear at 0:05 and 0:12.<br><br></li>\r\n</ul>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"updates\">UPDATES</a></h3>\r\n\r\n<ul>\r\n\r\n<li><strong>Correction:</strong> In the schematic diagram of Figure 2.7 (page 40), the pins of the male XLR connector are incorrectly numbered. The top pin should be \'2\' and the middle pin \'3\', as shown in this <a href=\"[[$sitePrefixCMT]]SitePix/Fig2-7aUpdate.jpg\">updated version</a>.<br><br></li>\r\n\r\n<li><strong>Focusrite VRM Technology:</strong> I had so many enquiries about this from readers that I bought a VRM Box myself to put it through its paces. Read my findings here: <a href=\"[[~27]]\">Focusrite VRM Box: The \'Mixing Secrets\' Verdict</a>.<br><br></li>\r\n\r\n<li><strong>Smyth Research Realiser A8:</strong> If you\'re unable to mix over loudspeakers for non-budgetary reasons, then there is an alternative headphone-monitoring option available that really does work: the convolution-based loudspeaker-modelling engine of the Smyth Research Realiser A8. This is a very sophisticated device, and despite its seemingly high price-tag (around &pound;3000 including suitable headphones) is actually excellent value for money if loudspeaker monitoring simply isn\'t an option. It\'s also a very cost-effective way to get into surround monitoring. For more details, check out my full <a href=\"http://www.soundonsound.com/sos/jul13/articles/smith-realiser-a8.htm\"><i>Sound On Sound</i> magazine review.</a>.<br><br></li>\r\n\r\n</ul>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"links\">LINKS</a></h3>\r\n\r\n<ul>\r\n\r\n[[$MSRecommendedLogo]]<br><br>\r\n\r\n<li><strong>The Rebirth Of The Auratones:</strong> The <a href=\"[[$URL_Auratone]]\">Auratone</a> speaker company has recently launched a recreation of their long-discontinued 5C Super Sound Cube, specifically the 1985 iteration of the design. However, although classic Auratones carved out a strong reputation as a midrange reference monitor, I don\'t think the new speaker is very well-suited to that role -- it actually sounds surprisingly hi-fi! That said, if you look at the new Auratone 5C as a full-range monitor (not a midrange reference), then I think a pair of the new 5Cs actually constitute a rather competitive option for mixing on a budget, given that they\'re unported and their low end is both remarkably extended and extremely well-behaved. For more in-depth info, see my <a href=\"http://www.soundonsound.com/sos/may16/articles/auratone-5c.htm\"><i>Sound On Sound</i> magazine review</a>.<br><br></li>\r\n\r\n<li><strong>Auratone Substitutes:</strong> It can be difficult to find a small, single-driver, unported speaker to use in place of an Auratone (as discussed at length in the book), so here are some suitable options I\'ve come across: the <a href=\"http://www.avantonepro.com\">Avantone Pro</a> Mix Cube (active or passive), which is my own personal preference and which I reviewed in <i>Sound On Sound</i>\'s <a href=\"http://www.soundonsound.com/sos/jun10/articles/mixcubeactives.htm\">June 2010 issue</a>; the <a href=\"http://www.triplepdesigns.com\">Triple P Designs</a> Pyramid (passive); the <a href=\"http://www.canford.co.uk\">Canford Audio</a> Powered Diecast Loudspeaker (active); and the <a href=\"http://www.fostexinternational.com\">Fostex</a> 6301 Powered Loudspeaker (active). I have reservations about using <a href=\"http://www.behringer.com\">Behringer</a>\'s Behritone speakers (C5A &amp; C50A) as Auratone substitutes at mixdown -- see my <a href=\"http://www.soundonsound.com/sos/feb12/articles/behringer-c5a-c50a.htm\">February 2012 <i>Sound On Sound</i> review</a> for details. If you\'re really strapped for cash, but handy with your power tools, then check out these two DIY Auratone Projects: one from the <a href=\"http://www.groupdiy.com/index.php?topic=43086.0\">GroupDIY Forum</a> and the other from the <a href=\"http://forums.acoustica.com/bbs/viewtopic.php?f=4&t=15433\">Acoustica Forum</a>.<br><br></li>\r\n\r\n<li><strong>Simulating An Auratone Using Impulse Responses:</strong> It\'s pretty easy to find an impulse response of the Auratone 5C on the web (for example, in the <a href=\"http://stash.reaper.fm/v/13569/Auratone_441kHz.wav\">Reaper Resources Stash</a>) which you can load into any standard <a href=\"[[~18]]#Convolution\">convolution engine</a> to simulate the speaker\'s frequency response. However, playing this convolved signal through any normal monitoring system actually cancels out most of the mixing benefits of using an Auratone -- ie. the real single-point image, the well-damped time-domain response, the single-driver design, and the low distortion. That said, the idea isn\'t completely devoid of merit, because you do still at least get the speaker\'s characteristic midrange focus, so I suppose it\'s better than nothing.<br><br></li>\r\n\r\n<li><strong>Mono-switching In Software:</strong> About the best little freeware mono-switch plug-ins are Brainworx\'s [[$software_Brainworx_BXSolo]] and Boz Digital\'s [[$software_BozDigital_Panipulator]], both of which let you solo the Left, Right, and Sides signals independently. Which plug-in you prefer just depends on which user interface best suits your own workflow.<br><br></li>\r\n\r\n<li><strong>Recommended Mixing Headphones:</strong> In the book I discuss the advantages of investing in a pair of top-of-the-range monitoring headphones for small-studio applications. Having heard dozens of different sets of headphones, and having compared many of the top models side-by-side, my personal top tips here are <a href=\"http://europe.beyerdynamic.com\">Beyerdynamic</a>\'s DT880 Pro and <a href=\"http://www.sennheiser.com\">Sennheiser</a>\'s HD650. If you\'ve less money to hand, then <a href=\"http://www.akg.com/\">AKG</a>\'s K240 MkII also seem to work very well for mixing purposes.<br><br></li>\r\n\r\n</ul>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"reading\">FURTHER READING</a></h3>\r\n\r\n<ul>\r\n\r\n<li><strong>Making A Stereo-to-mono Adapter Cable:</strong> Full details of how to make one can be found <a href=\"http://koo.corpus.cam.ac.uk/mixerton/articles/monocable/\">here</a>, but note that the diagram is incorrectly labelled -- <a href=\"[[$sitePrefixCMT]]SitePix/Fig2-7aUpdate.jpg\">this is the correct diagram</a>.<br><br></li>\r\n\r\n<li><strong>Using Headphones For Mixing:</strong> Here\'s a big <a href=\"http://www.soundonsound.com/sos/jan10/articles/studioheadphones.htm\">headphone shootout</a> I was involved in not long ago. What\'s good about it is that it includes established classics as well as newer models, and also covers a wide price range. And here\'s <a href=\"http://www.hertzbeat.com/experts/top-over-ear-headphones.html\">another large shootout</a> which features many studio models. If you have to work a lot on headphones, here are two articles which investigate techniques for doing this more successfully: <a href=\"http://www.soundonsound.com/sos/jan07/articles/mixingheadphones.htm\">article 1</a>, <a href=\"http://www.soundonsound.com/sos/dec03/articles/mixingheadphones.htm\">article 2</a>.<br><br></li>\r\n\r\n</ul>',1,6,10,1,1,1,1425301760,1,1461304614,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'ms-ch2.htm',0,0,1,NULL),(2,'document','text/html','MSFTSS_Ch00Basics','Whistlestop Guide To Studio Production','','ms-basics','',1,0,0,23,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#reading\">FURTHER READING</a> -- <a href=\"#glossaries\">JARGON-BUSTING GLOSSARIES</a></h5>\r\n\r\n[[$whistlestopGuide]]',1,6,4,1,1,1,1425211931,1,1426067374,0,0,0,1425212100,1,'',0,0,0,0,0,'modDocument','web',1,'ms-basics.htm',0,0,1,NULL),(3,'document','text/html','MSFTSS_Ch01Resouces','Chapter 1: Using Nearfield Monitors','','ms-ch1','',1,0,0,23,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#audio\">AUDIO FILES</a> -- <a href=\"#updates\">UPDATES</a> -- <a href=\"#links\">LINKS</a> -- <a href=\"#reading\">FURTHER READING</a></h5>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"audio\">AUDIO FILES</a> <span class=\"spanExampleFile\">(To download all WAV examples at once: <a href=\"\r\n[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/MSFTSS/Ch1/MSFTSS_Ch1_WAVs.zip`]]\">11MB ZIP</a>)</span></h3>\r\n\r\n<ul>\r\n<li><strong>LFSineTones:</strong>[[playerWavMp3Button? &exampleNumber=`01.01` &exampleFile=`Ch1/MS0101_LFSineTones`]] Do not play this at high volumes or you may damage your speakers! This file contains a chromatic scale of sinewave tones spanning 24Hz-262Hz. This file is useful for hearing the bass response of monitoring systems, as well as distortion and turbulence anomalies. Table 1.1 in Section 1.4 gives a listing of which frequencies and pitches occur at which times in the file.<br><br></li>\r\n\r\n<li><strong>PinkNoise:</strong> [[playerWavMp3Button? &exampleNumber=`01.03` &exampleFile=`Ch1/MS0103_PinkNoise`]] This file contains a full-range pink-noise test signal, which can be used (amongst many other things) to highlight the comb-filtering between the different drivers of a multi-driver speaker.<br><br></li>\r\n\r\n<li><strong>StereoTest:</strong> [[playerWavMp3Button? &exampleNumber=`01.02` &exampleFile=`Ch1/MS0102_StereoTest`]] This file contains a repeating pattern of four noise bursts: the first only in the left channel; the second only in the right channel; the third in both channels; and the fourth in both channels, but with the right channel out of polarity with the left channel. You can use this file to confirm correct stereo speaker setup and assess the stability of your phantom image.<br><br></li>\r\n\r\n</ul>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"updates\">UPDATES</a></h3>\r\n\r\n<ul>\r\n\r\n<li><strong>Corrections:</strong> On page 6, line 19, it should read \"the lowest fundamental from a bass guitar is around 41Hz\", not 44Hz as printed, and this assumes a regular four-string bass, as that\'s the fundamental frequency of its low \'E\' (as shown in Table 1.1 on page 23). Also, the nodes and antinodes in Figure 1.8 on page 22 should be the opposite way round, as shown in this <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SitePix/Fig1-8Update.jpg`]]\">updated version</a>. These issues have been corrected for the most recent reprints.<br><br></li>\r\n\r\n</ul>   \r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"links\">LINKS</a></h3>\r\n\r\n<ul>\r\n\r\n[[$MSRecommendedLogo]]<br><br>\r\n\r\n<li><strong>Affordable Nearfield Monitor Systems:</strong> As discussed at length in the book, I strongly recommend unported speakers when working on a budget. At present, however, there simply aren\'t many affordable closed-box loudspeakers on the market, and my previous top recommendations, the <a href=\"http://abluesky.com\">Blue Sky</a> Pro Desk &amp; Media Desk and the <a href=\"http://www.acoustic-energy.co.uk\">Acoustic Energy</a> AE22, have now all been discontinued. (Clearly, if you can snap up one of those systems second-hand, then great, and likewise there are also bargains to be had secondhand on many unported speakers from former manufacturer Klein & Hummel.) All is not lost, though, because there are still some current options. The <a href=\"http://www.abacus-electronics.de/110-0-A-Box.html\">Abacus A-Box</a>, <a href=\"http://aps-company.com/en/products/coax\">APS Coax</a>, <a href=\"http://www.quested.com/studio-monitoring/products-s6r.html\">Quested S6R</a>, and <a href=\"http://unityaudioproducts.co.uk/pebble_bam_bam.php\">Unity Audio Pebble</a> all provide closed-box sonics at a relatively manageable price, and the option of an additional subwoofer should funds allow. Lower down the budget scale you have the <a href=\"http://www.nhthifi.com/products?categories=nht-super-series\">NHT Super Series</a> and the <a href=\"http://www.abacus-electronics.de/122-0-C-Box.html\">Abacus C-Box</a>, both of which are serious bargains for project-studio mixing and also have subwoofer options available. In addition, I\'ve recently reviewed the reissued <a href=\"http://www.auratonesoundcubes.com/\">Auratone</a> 5C Super Sound Cubes, and while I can\'t really recommend them as a midrange reference (despite their predecessors\' heritage!), I think they actually provide quite a competitive budget nearfield system, even taking into account the need to budget for an amp to drive them. I\'m in the process of getting hold of many of these systems for first-hand testing, and will be reporting my own views about them via the [[$patronsPodcast]] in the first instance.<br><br></li>\r\n\r\n<li><strong>\'Unvarnished Reviews\' Of Studio Monitors:</strong> I\'ve recently started reviewing some project-studio speakers for the [[$patronsPodcast]], and here\'s a list of the recipients of my unvarnished verdict so far: <a href=\"http://www.abacus-electronics.de/122-0-C-Box.html\">ABACUS C-Box<a>; <a href=\"http://www.auratonesoundcubes.com/\">Auratone 5C Super Sound Cube</a>; <a href=\"http://www.krksys.com/krk-studio-monitor-speakers/rokit/rokit-8.html\">KRK Rokit 8 GS3</a>; <a href=\"http://www.nhthifi.com/products?categories=nht-super-series\">NHT Pro Super 2.1</a>; <a href=\"http://uk.yamaha.com/en/products/music-production/speakers/hs_series/hs8/?mode=model\">Yamaha HS8</a>. To access these reviews, please support the Cambridge-MT resources via our <a href=\"[[~425]]\">Patreon campaign</a>.<br><br></li>\r\n\r\n<li><strong>Acoustics Products:</strong> <a href=\"http://www.auralex.com/\">Auralex</a> sell all manner of tried-and-tested acoustic foam products for reducing the problems of early reflections in your control room. <a href=\"http://www.gikacoustics.com\">GIK Acoustics</a> and <a href=\"http://www.realtraps.com\">Real Traps</a> sell a variety of ready-made mineral-fibre bass traps, but if you fancy saving some money by making your own, then check out the DIY wooden frames available from <a href=\"http://www.atsacoustics.com\">ATS Acoustics</a> and <a href=\"http://www.acoustimac.com\">Acoustimac</a> -- the latter also do \'DIY EZ Wraps\', which are bags prefabricated from acoustic fabric to fit standard 2x4-foot mineral-wool slabs.<br><br></li>\r\n\r\n<li><strong>Calculating Room Modes:</strong> In the book I\'ve already mentioned a simple way of calculating the likely resonant frequencies of a room based on its dimensions, but if you\'re dealing with room resonances a lot, then check out RealTraps\' little <a href=\"http://www.realtraps.com/modecalc.htm\"><i>ModeCalc</i></a><img src=\"[[$sitePrefixCMT]]SitePix/WinLogoSmall.jpg\"> utility, which provides a graphical overview of all three sets of room modes in a rectangular room at once.<br><br></li>\r\n \r\n<li><strong>Monitor Mounting Products:</strong> If you can, try to find monitor stands which have optional foot spikes and can be filled with sand for extra inertia. With speaker stands like this you shouldn\'t really need any further monitor-isolation gadgets. However, if you\'re unable to use decent solid stands, for whatever reason, then <a href=\"http://www.primacoustic.com/\">Primacoustic</a>\'s Recoil Stabilizer would certainly be worth investigating. <a href=\"http://www.auralex.com/\">Auralex</a>\'s Mo Pads are a cheaper alternative, but can\'t provide the same additional inertia because the foam they\'re made of is comparatively lightweight.<br><br></li>\r\n\r\n</ul>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"reading\">FURTHER READING</a></h3>\r\n\r\n<ul>\r\n\r\n<li><strong>Speaker Porting:</strong> More information on the <a href=\"http://www.soundonsound.com/sos/oct00/articles/monitor.htm\">side-effects</a>.<br><br></li>\r\n\r\n<li><strong>Yamaha NS10 &amp; Auratone 5C Super Sound Cube:</strong> Here\'s an interesting article about the unique characteristics of the <a href=\"http://www.soundonsound.com/sos/sep08/articles/yamahans10.htm\">Yamaha NS10</a>, the most famous studio nearfield monitor. Plus this excellent <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]NS10MResearchPaper.pdf`]]\">research paper</a> contains exceptionally detailed laboratory tests comparing the Yamaha NS10 and Auratone 5C Super Sound Cube to three dozen different studio monitors.<br><br></li>\r\n\r\n<li><strong>Debunking The \'Speakers On Their Sides\' Myth:</strong> Sound On Sound Technical Editor Hugh Robjohns gives more <a href=\"http://www.soundonsound.com/sos/mar10/articles/qanda0310_6.htm\">detail</a> on why speakers shouldn\'t normally be mounted on their sides.<br><br></li>\r\n\r\n<li><strong>Phase &amp; Polarity:</strong> A more detailed article on <a href=\"http://www.soundonsound.com/sos/apr08/articles/phasedemystified.htm\">phase and polarity</a>, with explanatory diagrams and lots of practical case-studies.<br><br></li>\r\n\r\n<li><strong>Build Your Own Acoustic Diffuser:</strong> If you want to get more serious about diffusing reflections in your studio space, rather than just absorbing them, then check out this <a href=\"http://www.pmerecords.com/Diffusor.cfm\">DIY instruction page</a>, one of a number on the web which explain the practicalities of building a professional-grade modular diffuser as described in this <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]BBCDiffusorReport.pdf`]]\">BBC Research Report</a>.<br><br></li>\r\n\r\n</ul>',1,6,9,1,1,1,1425246976,1,1485159443,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'ms-ch1.htm',0,0,1,NULL),(13,'document','text/html','MSFTSS_Ch11Resources','Chapter 11: Equalising For A Reason','','ms-ch11','',1,0,0,23,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#audio\">AUDIO FILES</a> -- <a href=\"#links\">LINKS</a> -- <a href=\"#reading\">FURTHER READING</a></h5>\r\n\r\n\r\n<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/Ch11/MSFTSS_Ch11_WAVs.zip`]]\">100MB ZIP</a>)</span></h3>\r\n\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Unmasking With EQ:</strong> To help illustrate the effect of frequency masking, first listen to this small vocal snippet [[playerWavMp3Button? &exampleNumber=`11.01` &exampleFile=`Ch11/MS1101_MaskingVocal`]], and then listen to how its subjective tone changes when it\'s layered with a high-frequency noise signal [[playerWavMp3Button? &exampleNumber=`11.02` &exampleFile=`Ch11/MS1102_MaskingVocalNoise`]]. The vocal signal is no different -- it\'s just that its upper frequencies are now being masked by the noise source. In order to return the vocal to something like its original tone, I would have to boost its high frequencies by several decibels with EQ, as in this file [[playerWavMp3Button? &exampleNumber=`11.03` &exampleFile=`Ch11/MS1103_MaskingVocalNoiseEQ`]]. For a more real-world example, check out this <a href=\"http://www.soundonsound.com/sos/may10/articles/mixrescue_0510.htm\">Mix Rescue</a> remix, in which equalisation was used primarily for dealing with masking issues [[playerWavMp3Button? &exampleNumber=`11.04` &exampleFile=`Ch11/MS1104_MixMaskingEQ_MR1005`]], and then notice the loss of clarity in this version of the same mix where I\'ve bypassed all the EQ plug-ins [[playerWavMp3Button? &exampleNumber=`11.05` &exampleFile=`Ch11/MS1105_MixMaskingNoEQ_MR1005`]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Some Applications Of Narrow Peaking-filter Cuts:</strong> Narrow peaking-filter cuts (often referred to as \'notches\') are extremely useful, yet underused in the small studio. They are most commonly of use with drums, for example in this virtual-instrument \'drum room\' recording [[playerWavMp3Button? &exampleNumber=`11.06` &exampleFile=`Ch11/MS1106_RoomNotchOut_MR1101`]], where a low pitched resonance is cluttering up the low end of the mix. A single narrow notch at 74Hz solves the problem [[playerWavMp3Button? &exampleNumber=`11.07` &exampleFile=`Ch11/MS1107_RoomNotchIn_MR1101`]]. It\'s not uncommon to need more than one notch, for example in the case of this drum overheads recording [[playerWavMp3Button? &exampleNumber=`11.08` &exampleFile=`Ch11/MS1108_OverheadsNotchOut_MR1004`]], which needed cuts at 354Hz and 797Hz to tame some nasty ringing in the snare sound [[playerWavMp3Button? &exampleNumber=`11.09` &exampleFile=`Ch11/MS1109_OverheadsNotchIn_MR1004`]]. The worst offenders tend to be drum close mics, such as this under-snare mic [[playerWavMp3Button? &exampleNumber=`11.10` &exampleFile=`Ch11/MS1110_SnareNotchOut_MR1103`]], which needed five separate notches to rein in the more heinous of its pitched resonances [[playerWavMp3Button? &exampleNumber=`11.11` &exampleFile=`Ch11/MS1111_SnareNotchIn_MR1103`]]. Notches aren\'t just useful for drums, though: unwanted narrow-band resonant peaks can often be found in bass/guitar-cab recordings, as well as in vocal recordings. Here\'s an example of a vocal recording with this kind of problem [[playerWavMp3Button? &exampleNumber=`11.12` &exampleFile=`Ch11/MS1112_VoxNotchOut_MR1006`]] -- the unpleasant piercing quality of the resonances is particularly apparent in the second half of the file. Here\'s what it sounds like with the four separate 8dB notches that were required in this case to get the vocal tone to sit properly in the mix [[playerWavMp3Button? &exampleNumber=`11.13` &exampleFile=`Ch11/MS1113_VoxNotchIn_MR1006`]]. Read further details of the settings in this <a href=\"http://www.soundonsound.com/sos/jun10/articles/mixrescue_0610.htm\">Mix Rescue</a>.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Pitch-related EQ:</strong> In some situations it\'s useful to target EQ specifically at the fundamental frequency and harmonics of certain pitches. The most common trouble-shooting application for this is getting rid of electrical mains hum/buzz from a recording such as this guitar part [[playerWavMp3Button? &exampleNumber=`11.16` &exampleFile=`Ch11/MS1116_GuitarHum01_Raw`]]. A series of narrow EQ notches at multiples of the hum\'s fundamental frequency (50Hz in Europe, 60Hz in the US) can deal with this problem very effectively [[playerWavMp3Button? &exampleNumber=`11.17` &exampleFile=`Ch11/MS1117_GuitarHum02_CombFilter`]]. A similar approach can be used to reduce the levels of certain pitched notes within a mixed sample, as in this case [[playerWavMp3Button? &exampleNumber=`11.18` &exampleFile=`Ch11/MS1118_VocalSampleGtrEQOut`]] where five different sets of EQ notches were used to reduce the level of the guitar part relative to the vocal [[playerWavMp3Button? &exampleNumber=`11.19` &exampleFile=`Ch11/MS1119_VocalSampleGtrEQIn`]]. But it\'s not just cuts that are useful, because on occasion you want to actually emphasise a signal\'s pitched component, as was the case in this <a href=\"http://www.soundonsound.com/sos/may11/articles/mix-rescue-0511.htm\">Mix Rescue</a> where an over-fuzzed rhythm guitar part [[playerWavMp3Button? &exampleNumber=`11.20` &exampleFile=`Ch11/MS1120_GtrsEQOut_MR1105`]] was given more note definition using two sets of four narrow pitch-related EQ peaks [[playerWavMp3Button? &exampleNumber=`11.21` &exampleFile=`Ch11/MS1121_GtrsEQIn_MR1105`]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Pre-ringing Side-effects Of Linear-phase EQ:</strong> Although linear-phase EQ has a lot of benefits, it\'s not without some side-effects, most notably the odd pre-ringing effect you can sometimes get when using narrow peaking filters. Compare these two snare recordings, for example, the first processed with traditional minimum-phase EQ [[playerWavMp3Button? &exampleNumber=`11.14` &exampleFile=`Ch11/MS1114_SnareMinimumPhase_MR1004`]], and the second with a linear-phase design [[playerWavMp3Button? &exampleNumber=`11.15` &exampleFile=`Ch11/MS1115_SnareLinearPhase_MR1004`]].<br><br></li>\r\n\r\n</ul>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"links\">LINKS</a></h3>\r\n\r\n<ul>\r\n\r\n[[$MSRecommendedLogo]]<br><br>\r\n\r\n<li><strong>Affordable EQ Plug-ins:</strong> Cockos\'s freeware [[$software_Cockos_ReaEQ]] is a good all-rounder, which I end up using for probably 80 percent of my mix work. (Check out this <a href=\"http://www.soundonsound.com/sos/dec10/articles/reaper-tech-1210.htm\">article</a> for some tips on getting the best out of it.) Melda\'s freeware [[$software_Melda_MEqualizer]] is also good, especially for its ability to control a whole series of harmonically related notches simultaneously (although I find Voxengo\'s affordable [[$software_Voxengo_GlissEQ]] even better for that specific application). For linear-phase applications I typically turn to DDMF\'s very flexible and affordable [[$software_DDMF_LP10]], although I also really like the sound of Melda\'s <a href=\"http://www.meldaproduction.com/plugins/product.php?id=MEqualizerLinearPhase\"><i>MEqualizerLinearPhase</i></a>[[$softwareLogoMac]][[$softwareLogoWin]] and IK Multimedia\'s <a href=\"http://www.ikmultimedia.com/products/trlinphaseeq/\"><i>Linear Phase Equaliser</i></a>[[$softwareLogoMac]][[$softwareLogoWin]]. If you want to dip a toe into linear-phase processing without parting with cash, try Voxengo\'s freeware [[$software_Voxengo_MarvelGEQ]], Slim Slow Slider\'s freeware <a href=\"http://www.geocities.jp/webmaster_of_sss/vst/#lpgeq2\"><i>LinearPhaseGraphicEQ2</i></a>[[$softwareLogoMac]][[$softwareLogoWin32bit]], or the \'Reduce Artifacts\' EQ mode of Cockos\'s freeware [[$software_Cockos_ReaFIR]]. For characterful \'tonal\' EQ, try Sonimus\'s freeware <a href=\"http://sonimus.com/products/soneq\"><i>SonEQ</i></a>[[$softwareLogoMac]][[$softwareLogoWin]], Stillwell Audio\'s affordable [[$software_StillwellAudio_VibeEQ]] (a personal favourite!), Voxengo\'s freeware <a href=\"http://www.voxengo.com/product/overtonegeq\"><i>Overtone GEQ</i></a>[[$softwareLogoMac]][[$softwareLogoWin]], Variety Of Sound\'s freeware <a href=\"[[$URL_VarietyOfSound_VSTs]]\"><i>BootEQ</i></a>[[$softwareLogoWin32bit]] and <a href=\"[[$URL_VarietyOfSound_VSTs]]\"><i>NastyVCS</i></a>[[$softwareLogoWin32bit]], Leftover Lasagne\'s freeware <a href=\"http://www.leftoverlasagne.com/leftoverlasagne/plug-ins.html\"><i>Pushtec 5+1A</i></a>[[$softwareLogoWin32bit]], and the various freeware equalisers in the [[$software_AntressModern_PluginCollection]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Affordable Spectrum-analysis Plug-ins:</strong> Voxengo\'s freeware [[$software_Voxengo_SPAN]], Melda\'s freeware [[$software_Melda_MAnalyzer]], and Stillwell Audio\'s affordable [[$software_StillwellAudio_Schope]] all provide more than adequate resolution for identifying and notching resonant frequencies.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>On-line Ear Training:</strong> Here\'s a great little ear-training application: <a href=\"http://quiztones.net\">Quiztones</a>. What\'s great about it is that it doesn\'t just use sinewave tones, but also tests whether you can tell which frequencies different signals have been EQ\'d at, which is of much more practical use for mixing purposes.</li>\r\n\r\n\r\n\r\n</ul>\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"reading\">FURTHER READING</a></h3>\r\n\r\n\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Further Reading:</strong> Given that equalisation is such a large part of what mixing is all about, there\'s something to learn from most Mix Rescue remixes about it. However, this <a href=\"http://www.soundonsound.com/sos/aug09/articles/mixrescue_0809.htm\">article</a> and this <a href=\"http://www.soundonsound.com/sos/may10/articles/mixrescue_0510.htm\">article</a> provide a good overview of what balance equalisation typically entails, while this <a href=\"http://www.soundonsound.com/sos/jul10/articles/mixrescue_0710.htm\">article</a> and this <a href=\"http://www.soundonsound.com/sos/feb09/articles/mixrescue_0209.htm\">article</a> focus on the important distinction between \'technical\' balance EQ and more creative \'tonal\' EQ.<br><br></li>\r\n\r\n\r\n\r\n</ul>',1,6,20,1,1,1,1425366274,1,1437718537,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'ms-ch11.htm',0,0,1,NULL),(5,'document','text/html','MSFTSS_Ch03Resources','Chapter 3: Low-end Damage Limitation','','ms-ch3','',1,0,0,23,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#audio\">AUDIO FILES</a> -- <a href=\"#links\">LINKS</a> -- <a href=\"#reading\">FURTHER READING</a></h5>\r\n\r\n\r\n<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/Ch3/MSFTSS_Ch3_WAVs.zip`]]\">59MB ZIP</a>)</span></h3>\r\n\r\n<ul>\r\n\r\n<li><strong>LFSineTones:</strong> [[playerWavMp3Button? &exampleNumber=`03.01` &exampleFile=`Ch3/MS0301_LFSineTones`]] Do not play this at high volumes or you may damage your speakers! This file contains a chromatic scale of sinewave tones spanning 24Hz-262Hz. In conjunction with the Table 1.1 in Section 1.4, you can use it to work out the resonant frequency of a speaker\'s port.<br><br></li>\r\n\r\n<li><strong>ConeFlapper files:</strong> ConeFlapperOut [[playerWavMp3Button? &exampleNumber=`03.02` &exampleFile=`Ch3/MS0302_ConeFlapperOut`]] is a section of R&B-style backing track with well-controlled low end. Now compare it with ConeFlapperIn [[playerWavMp3Button? &exampleNumber=`03.03` &exampleFile=`Ch3/MS0303_ConeFlapperIn`]]. Do not play this at high volumes or you may damage your speakers! In the latter version a strong subsonic element in the kick drum eats up around 3dB of extra headroom in return for negligible audible change.<br><br></li>\r\n\r\n<li><strong>Kick-drum Low-end Lag:</strong> Here are two examples of kick drums with sluggish low frequencies. The first [[playerWavMp3Button? &exampleNumber=`03.04` &exampleFile=`Ch3/MS0304_KickLag1Orig_MR1011`]] is more obvious, the second [[playerWavMp3Button? &exampleNumber=`03.05` &exampleFile=`Ch3/MS0305_KickLag2Orig_MR0903`]] more subtle. Compare these with the following versions, which have been processed to reduce the lag: first [[playerWavMp3Button? &exampleNumber=`03.06` &exampleFile=`Ch3/MS0306_KickLag1Proc_MR1011`]] and second [[playerWavMp3Button? &exampleNumber=`03.07` &exampleFile=`Ch3/MS0307_KickLag2Proc_MR0903`]]. For more information on the processing used, check out these two Mix Rescues: <a href=\"http://www.soundonsound.com/sos/nov10/articles/mixrescue-1110.htm\">article 1</a>, <a href=\"http://www.soundonsound.com/sos/mar09/articles/mixrescue_0309.htm\">article 2</a>.<br><br></li>\r\n\r\n<li><strong>Restricting Low-end Contributions:</strong> A good example of the \'simplify the problem, simplify the solution\' tactic mentioned in Section 3.5 can be heard in this <a href=\"http://www.soundonsound.com/sos/dec09/articles/mixrescue_1209.htm\">Mix Rescue</a>. Here the three main electric-guitar layers [[playerWavMp3Button? &exampleNumber=`03.08` &exampleFile=`Ch3/MS0308_GtrA1_MR0912` &exampleNumber2=`03.09` &exampleFile2=`Ch3/MS0309_GtrA2_MR0912` &exampleNumber3=`03.10` &exampleFile3=`Ch3/MS0310_GtrA3_MR0912`]] were all high-pass filtered to make way for the bass guitar [[playerWavMp3Button? &exampleNumber=`03.11` &exampleFile=`Ch3/MS0311_GtrABass_MR0912`]], which itself was high-pass filtered to leave the bottom octaves for a sub-bass synth part [[playerWavMp3Button? &exampleNumber=`03.12` &exampleFile=`Ch3/MS0312_GtrASub_MR0912`]]. By combining all these elements [[playerWavMp3Button? &exampleNumber=`03.13` &exampleFile=`Ch3/MS0313_GtrA123BassSubMix_MR0912`]], you get an ensemble sound which still provides plenty of low end, but in a way that allows you more easily to work around low-frequency monitoring problems in your listening environment.<br><br></li>\r\n\r\n</ul>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"links\">LINKS</a></h3>\r\n\r\n<ul>\r\n\r\n[[$MSRecommendedLogo]]<br><br>\r\n\r\n<li><strong>Affordable Spectrum-analysis &amp; Level-metering Plug-ins:</strong>\r\nVoxengo’s freeware [[$software_Voxengo_SPAN]] and Melda\'s freeware [[$software_Melda_MAnalyzer]] are very good for spectrum analysis, although I personally use Stillwell Audio’s affordable [[$software_StillwellAudio_Schope]] most of the time. For fully-featured full-band level metering, check out Sonalksis [[$software_Sonalksis_FreeG]] and Tischmeyer Technology\'s freeware <a href=\"http://www.dynamicrange.de/es/es/download#menu1\"><i>TT Dynamic Range Meter</i></a>[[$softwareLogoMac]][[$softwareLogoWin]]. There\'s also LSR\'s freeware <a href=\"http://www.lsraudio.com/lvlmeter.html\"><i>LVLMeter</i></a>[[$softwareLogoMac]][[$softwareLogoWin]] and Sleepy-Time DSP\'s freeware <a href=\"http://sleepytimedsp.com/downloads\"><i>Stereo Channel</i></a>[[$softwareLogoWin]] which both provide nice stereo moving-coil displays for those who like the way that type of meter responds.<br><br></li>\r\n\r\n</ul>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"reading\">FURTHER READING</a></h3>\r\n\r\n<ul>\r\n\r\n<li><strong>Audio Metering:</strong> If you\'d like to know more about the mechanics of using audio metering, check out this nice little <a href=\"http://www.soundonsound.com/sos/jun00/articles/metring.htm\">FAQ</a>.<br><br></li>\r\n\r\n</ul>',1,6,12,1,1,1,1425303550,1,1437718379,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'ms-ch3.htm',0,0,1,NULL),(6,'document','text/html','MSFTSS_Ch04Resources','Chapter 4: From Subjective Impressions To Objective Results','','ms-ch4','',1,0,0,23,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#audio\">AUDIO FILES</a> -- <a href=\"#links\">LINKS</a> -- <a href=\"#reading\">FURTHER READING</a></h5>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"audio\">AUDIO FILES</a> <span class=\"spanExampleFile\">(To download all WAV examples at once: <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/MSFTSS/Ch4/MSFTSS_Ch4_WAVs.zip`]]\">5MB ZIP</a>)</span></h3>\r\n\r\n<ul>\r\n\r\n\r\n\r\n<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>\r\n\r\n\r\n\r\n</ul>\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"links\">LINKS</a></h3>\r\n\r\n<ul>\r\n\r\n[[$MSRecommendedLogo]]<br><br>\r\n\r\n<li><strong>Affordable Stereo Monitor Controllers:</strong> As mentioned in the book, a dedicated monitor controller is an excellent purchase for the small studio, and for mixing purposes I\'d recommend a model with the following features: three independently switchable monitoring outputs (for your nearfields, Auratone-substitute, and grotboxes); a headphone socket; and a mono switch. Here are a couple of options which fit this spec at a reasonable price: SPL\'s <a href=\"http://www.spl.info/index.php?id=129&L=1\">MTC 2381</a> (which I use myself); Mackie\'s <a href=\"http://www.mackie.com/products/bigknob/index.html\">Big Knob</a> (just count those <a href=\"http://www.soundonsound.com/sos/feb05/articles/mackiebigknob.htm\"><i>double entendres</i></a>!). There\'s also the SM Pro Audio <a href=\"http://www.smproaudio.com/index.php/en/products/monitor-controllers/m-patch-2-1\">MPatch 2.1</a>, which is a passive device (which helps with audio quality but doesn\'t allow for any gain though the system, of course). The Samson <a href=\"http://www.samsontech.com/products/productpage.cfm?prodID=1650&brandID=2\">C-Control</a> is very cheap, and offers a lot of functions, but I personally remain unconvinced of its build quality and ease of repair -- an important consideration given that the pots and switches of a monitor controller inevitably get a lot of wear.<br><br></li>\r\n\r\n<li><strong>Automatic Loudness-matching Plug-in:</strong> Adjusting the levels of different reference tracks to match your mix in progress can be a chore, but there is an affordable plug-in from Klangfreund that can help by analysing the tracks during playback and adjusting the channel gains automatically: [[$software_Klangfreund_LUFSMeter]]. It\'s very easy to work, and I use it all the time these days. <br><br></li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"reading\">FURTHER READING</a></h3>\r\n\r\n\r\n\r\n<ul>\r\n\r\n\r\n\r\n<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>\r\n\r\n\r\n<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>\r\n\r\n\r\n\r\n</ul>',1,6,13,1,1,1,1425323270,1,1447858784,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'ms-ch4.htm',0,0,1,NULL),(7,'document','text/html','MSFTSS_Ch05Resources','Chapter 5: Essential Groundwork','','ms-ch5','',1,0,0,23,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#audio\">AUDIO FILES</a> -- <a href=\"#reading\">FURTHER READING</a></h5>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"audio\">AUDIO FILES</a> <span class=\"spanExampleFile\">(To download all WAV examples at once: <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/MSFTSS/Ch5/MSFTSS_Ch5_WAVs.zip`]]\">59MB ZIP</a>)</span></h3>\r\n\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Unmixed Multitracks For Practice Purposes:</strong> If you\'re looking for something to use for practicing your mixing, check out the <a href=\"[[~373]]\">\'Mixing Secrets\' Free Multitrack Download Library</a>, which contains [[$numberOfMultitracks]] projects in a variety of different musical styles. These are free to download for educational purposes, and can easily be imported into any DAW by copying all the WAVs to the same point in the time-line.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Vocal Multing Examples:</strong> For the majority of the mixes I do I end up multing the lead vocal part so that I can alter its processing to match changes in the song\'s arrangement, and there\'s a good example in this <a href=\"http://www.soundonsound.com/sos/feb09/articles/mixrescue_0209.htm\">Mix Rescue</a>. First compare the two vocal sounds: verse [[playerWavMp3Button? &exampleNumber=`05.01` &exampleFile=`Ch5/MS0501_Vocal1Verse_MR0902`]] and chorus [[playerWavMp3Button? &exampleNumber=`05.02` &exampleFile=`Ch5/MS0502_Vocal1Chorus_MR0902`]]. Then listen to how their processing and effects differences make sense within the context of the remix [[playerWavMp3Button? &exampleNumber=`05.03` &exampleFile=`Ch5/MS0503_Vocal1Context_MR0902`]]. Another example can be heard in this <a href=\"http://www.soundonsound.com/sos/mar10/articles/mixrescue_0310.htm\">Mix Rescue</a>. Again, here are the verse [[playerWavMp3Button? &exampleNumber=`05.04` &exampleFile=`Ch5/MS0504_Vocal2Verse_MR1003`]] and chorus [[playerWavMp3Button? &exampleNumber=`05.05` &exampleFile=`Ch5/MS0505_Vocal2Chorus_MR1003`]] vocal sounds, as well as a section of the remix [[playerWavMp3Button? &exampleNumber=`05.06` &exampleFile=`Ch5/MS0506_Vocal2Context_MR1003`]] to show how they contribute to the production as a whole. And a final example comes from this <a href=\"http://www.soundonsound.com/sos/nov08/articles/mixrescue_1108.htm\">Mix Rescue</a>, where the verse vocal [[playerWavMp3Button? &exampleNumber=`05.07` &exampleFile=`Ch5/MS0507_Vocal3Verse_MR0811`]] and chorus vocal [[playerWavMp3Button? &exampleNumber=`05.08` &exampleFile=`Ch5/MS0508_Vocal3Chorus_MR0811`]] are deliberately contrasted for more artistic effect, as you can hear within the context of the full remix [[playerWavMp3Button? &exampleNumber=`05.09` &exampleFile=`Ch5/MS0509_Vocal3Context_MR0811`]].<br><br></li>\r\n\r\n\r\n\r\n</ul>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"reading\">FURTHER READING</a></h3>\r\n\r\n\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Multing In Practice:</strong> Here are a few Mix Rescue projects which illustrate a variety of different uses for multing. In this <a href=\"http://www.soundonsound.com/sos/jun10/articles/mixrescue_0610.htm\">article</a> I ended up multing a large number of parts (including the drums, guitars, and vocals) to reflect arrangement changes between sections, whereas in this <a href=\"http://www.soundonsound.com/sos/nov10/articles/mixrescue-1110.htm\">article</a> I used more \'micro level\' multing, slicing up drum loops into individual hits for separate processing. For this <a href=\"http://www.soundonsound.com/sos/may10/articles/mixrescue_0510.htm\">article</a> (from which the screenshot in Figure 5.5 was taken), it was impossible to make any sense of the complex outro vocal arrangement without first multing all the lead and backing vocals into appropriate functional groups.<br><br></li>\r\n\r\n\r\n\r\n</ul>',1,6,14,1,1,1,1425323956,1,1437718435,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'ms-ch5.htm',0,0,1,NULL),(8,'document','text/html','MSFTSS_Ch06Resources','Chapter 6: Timing And Tuning Adjustments','','ms-ch6','',1,0,0,23,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#audio\">AUDIO FILES</a> -- <a href=\"#links\">LINKS</a> -- <a href=\"#reading\">FURTHER READING</a></h5>\r\n\r\n\r\n<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/Ch6/MSFTSS_Ch6_WAVs.zip`]]\">44MB ZIP</a>)</span></h3>\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Matched-waveform Audio Edits:</strong> Here\'s an example of the kind of mid-note slice point that can benefit from a matched-waveform edit [[playerWavMp3Button? &exampleNumber=`06.03` &exampleFile=`Ch6/MS0603_MatchedEditRaw`]]. At the moment the waveform is mis-aligned and without any crossfade, so you hear a big click. Sliding the waveforms fractionally to line up their repeating cycles dramatically reduces the click, even without any crossfade [[playerWavMp3Button? &exampleNumber=`06.04` &exampleFile=`Ch6/MS0604_MatchedEditAligned`]]. Adding a short equal-power crossfade over just a couple of waveform cycles smooths the result even further [[playerWavMp3Button? &exampleNumber=`06.05` &exampleFile=`Ch6/MS0605_MatchedEditFade`]]. Although the edit is still not completely inaudible in this case while the vocal is soloed, it\'ll be more than good enough to pass muster when set against even the most basic backing arrangement.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Masked Audio Edits:</strong> An often overlooked method of concealing audio edits is to hide them behind other masking events in the production, as demonstrated in the following audio examples. Here\'s a truly blood-curdling audio edit [[playerWavMp3Button? &exampleNumber=`06.06` &exampleFile=`Ch6/MS0606_MaskedEditSolo`]], causing a big lump right in the middle of a vocal line. Now listen to that same edit within the context of the mix, and notice how the strong masking action of the drum loop\'s kick/hat downbeat completely conceals even such horribly clunky discontinuity in the vocal line [[playerWavMp3Button? &exampleNumber=`06.07` &exampleFile=`Ch6/MS0607_MaskedEditContext`]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Pitch Correction Side-effects:</strong> Although state-of-the-art pitch-correction engines such as Celemony <i>Melodyne</i>\'s DNA now offer enormous potential for pitch-correction, they still tend to produce unwanted processing side-effects when presented with transient, noisy, or polyphonic audio. To show what I mean, here\'s an out-of-tune acoustic guitar recording [[playerWavMp3Button? &exampleNumber=`06.10` &exampleFile=`Ch6/MS0610_AcGtrUntuned_MR1008`]], and the same file which I have corrected as carefully as I can in Celemony\'s <i>Melodyne Editor</i> [[playerWavMp3Button? &exampleNumber=`06.11` &exampleFile=`Ch6/MS0611_AcGtrTuned_MR1008`]]. Note the chorus-like artefacts during note sustains (particularly bad at 0:03) and the softening of the picking transients.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Improving Automatic Pitch Correction:</strong> Automatic real-time pitch-correctors will usually give unmusical results with their default settings. Take this untuned vocal [[playerWavMp3Button? &exampleNumber=`06.12` &exampleFile=`Ch6/MS0612_PitchCorrBypass`]], for example, and hear how GVST\'s <i>GSnap</i> plug-in responds unmusically if left with its default settings [[playerWavMp3Button? &exampleNumber=`06.13` &exampleFile=`Ch6/MS0613_PitchCorrAutoDetect`]]. Using automation or MIDI data to tell <i>GSnap</i> what notes are being sung improves the musicality somewhat [[playerWavMp3Button? &exampleNumber=`06.14` &exampleFile=`Ch6/MS0614_PitchCorrAutoCorrect`]], but it\'s only once the correction speed is adjusted in real time using automation [[playerWavMp3Button? &exampleNumber=`06.15` &exampleFile=`Ch6/MS0615_PitchCorrManual`]] that the correction begins to feel more transparent.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Time-stretching Versus Beat-slicing For Tempo Adjustment:</strong> Although modern time-stretching algorithms can be very effective on some sounds, they tend to struggle with noisy or percussive tracks. Take this 95bpm drum loop [[playerWavMp3Button? &exampleNumber=`06.18` &exampleFile=`Ch6/MS0618_DrumsTempo01_Raw`]], for example, which I\'ve slowed down to 85bpm with two different algorithms: the bundled Elastique 2.1 Pro routine in Cockos [[$software_Cockos_Reaper]] [[playerWavMp3Button? &exampleNumber=`06.19` &exampleFile=`Ch6/MS0619_DrumsTempo02_Elastique`]] and the specialised third-party Celemony <i>Melodyne</i> software [[playerWavMp3Button? &exampleNumber=`06.20` &exampleFile=`Ch6/MS0620_DrumsTempo03_Melodyne`]]. Notice in particular how the tone of the drum sustains takes on a slightly chorus-like quality in the first example, but how the amplitude envelope of each drum hit is also extended unnaturally by the processing even in the less chorus-y second example. By contrast, slicing up the loop into its component hits and crossfading over the gaps [[playerWavMp3Button? &exampleNumber=`06.21` &exampleFile=`Ch6/MS0621_DrumsTempo04_Sliced`]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Timing &amp; Pitch Correction In Context:</strong> Here\'s an example I did for this <a href=\"http://www.soundonsound.com/sos/dec09/articles/mixrescue_1209.htm\">Mix Rescue</a> remix which demonstrates how timing correction can subtly tighten up the sound of a mix. Here\'s a section of the remixed backing track, first without any timing correction [[playerWavMp3Button? &exampleNumber=`06.01` &exampleFile=`Ch6/MS0601_GuitarsUntimed_MR0912`]], and then with extensive timing edits to the bass and guitar parts [[playerWavMp3Button? &exampleNumber=`06.02` &exampleFile=`Ch6/MS0602_GuitarsTimed_MR0912`]]. This <a href=\"http://www.soundonsound.com/sos/nov10/articles/mixrescue-1110.htm\">Mix Rescue</a> project, on the other hand, illustrates the impact of tuning correction on the blend of a track. Here\'s a section of the remixed backing track, first without any tuning correction [[playerWavMp3Button? &exampleNumber=`06.08` &exampleFile=`Ch6/MS0608_TuningOut_MR1011`]], and then with extensive off-line tuning edits to the guitar and synth parts [[playerWavMp3Button? &exampleNumber=`06.09` &exampleFile=`Ch6/MS0609_TuningIn_MR1011`]]. A final combined timing/tuning-correction example comes from this <a href=\"http://www.soundonsound.com/sos/aug11/articles/mix-rescue-0811.htm\">Mix Rescue</a>, where you can compare the sound of a section of the final remix with all the corrections [[playerWavMp3Button? &exampleNumber=`06.16` &exampleFile=`Ch6/MS0616_AllCorrectionsIn_MR1108`]] and without them [[playerWavMp3Button? &exampleNumber=`06.17` &exampleFile=`Ch6/MS0617_AllCorrectionsOut_MR1108`]].<br><br></li>\r\n\r\n</ul>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"links\">LINKS</a></h3>\r\n\r\n<ul>\r\n\r\n[[$MSRecommendedLogo]]<br><br>\r\n\r\n<li><strong>Some Plug-in Tuners:</strong> If you can head off tuning problems at source, you can save yourself a lot of problems. Here are a couple of freeware tuner utilities in case there\'s nothing suitable already built into your DAW software: GVST\'s <a href=\"http://www.gvst.co.uk/gtune.htm\"><i>GTune</i></a>[[$softwareLogoWin]] and NDC\'s <a href=\"http://tuneit.free.fr/Site/Home.html\"><i>Tune It</i></a>[[$softwareLogoMac]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Third-party Pitch/Time-manipulation Software:</strong> There are a number of well-established developers of real-time pitch/time-manipulation software, including <a href=\"http://www.antarestech.com\">Antares</a> (with <i>Auto-Tune</i>[[$softwareLogoMac]][[$softwareLogoWin]]), <a href=\"http://www.celemony.com\">Celemony</a> (with <i>Melodyne</i>[[$softwareLogoMac]][[$softwareLogoWin]]), and <a href=\"http://www.waves.com\">Waves</a> (with <i>Tune</i>[[$softwareLogoMac]][[$softwareLogoWin]]). <a href=\"http://serato.com/\">Serato</a> also have a good reputation for off-line processing with their <i>Pitch \'N Time</i>[[$softwareLogoMac]][[$softwareLogoWin]] software, and <a href=\"http://www.synchroarts.com\">SynchroArts</a> <i>VocAlign</i>[[$softwareLogoMac]][[$softwareLogoWin]] may be useful for you if you find yourself with lots of multitrack layers to synchronise. Although I use <i>Melodyne</i> myself (not least because of its ability to work more flexibly with polyphonic audio), any of these options will deliver professional results. If you\'re working on a tight budget and your DAW doesn\'t include real-time pitch-correction as standard, then check out GVST\'s freeware <a href=\"http://www.gvst.co.uk/gsnap.htm\"><i>GSnap</i></a>[[$softwareLogoWin]] or G200kg\'s freeware <a href=\"http://www.g200kg.com/en/software/kerovee.html\"><i>Kerovee</i></a>[[$softwareLogoWin]]. Alternatively, try out the low-cost Cockos [[$software_Cockos_Reaper]] DAW, which includes the <a href=\"http://wiki.cockos.com/wiki/index.php/ReaTune\"><i>ReaTune</i></a> plug-in as standard.<br><br></li>\r\n\r\n\r\n\r\n</ul>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"reading\">FURTHER READING</a></h3>\r\n\r\n\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Tuning &amp; Timing In Practice:</strong> Tuning and timing so regularly cause problems for home-brew mixes that I often talk about them in Mix Rescue. In this <a href=\"http://www.soundonsound.com/sos/oct08/articles/mixrescue_1008.htm\">article</a>, for example, there\'s a case-study of tuning a lead vocal in <i>Melodyne</i>, while this <a href=\"http://www.soundonsound.com/sos/dec09/articles/mixrescue_1209.htm\">article</a> and this <a href=\"http://www.soundonsound.com/sos/feb10/articles/mixrescue_0210.htm\">article</a> both talk about practical aspects of timing/groove adjustment.<br><br></li>\r\n\r\n\r\n\r\n</ul>',1,6,15,1,1,1,1425324925,1,1437718452,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'ms-ch6.htm',0,0,1,NULL),(9,'document','text/html','MSFTSS_Ch07Resources','Chapter 7: Comping And Arrangement','','ms-ch7','',1,0,0,23,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#audio\">AUDIO FILES</a> -- <a href=\"#reading\">FURTHER READING</a></h5>\r\n\r\n\r\n<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/Ch7/MSFTSS_Ch7_WAVs.zip`]]\">2MB ZIP</a>)</span></h3>\r\n\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Editing Out Clutter:</strong> Here are a couple of examples of how a little editing can help improve the clarity of important elements of your mix. Here\'s a short section of a mix containing a characteristic double-hit snare fill [[playerWavMp3Button? &exampleNumber=`07.01` &exampleFile=`Ch7/MS0701_SnareFillNoEdit_MR0812`]]. Compare that with this version of the same section [[playerWavMp3Button? &exampleNumber=`07.02` &exampleFile=`Ch7/MS0702_SnareFillWithEdit_MR0812`]], where I\'ve edited out a moment of the fuzzy bass synth behind the snare fill, a simple measure which allows the snare fill to pop through the mix more clearly. In a similar vein, compare this file [[playerWavMp3Button? &exampleNumber=`07.03` &exampleFile=`Ch7/MS0703_SuckNoDrop_MR1002`]] with this file [[playerWavMp3Button? &exampleNumber=`07.04` &exampleFile=`Ch7/MS0704_SuckDrop_MR1002`]]. For the latter I\'ve momentarily muted the background synth effect behind the word \'suck\', which immediately makes that lyric demand greater attention from the listener.<br><br></li>\r\n\r\n\r\n\r\n</ul>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"reading\">FURTHER READING</a></h3>\r\n\r\n\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Arrangement In Practice:</strong> I frequently address arrangement issues during my Mix Rescue remixes, but there are some of these articles which focus particularly on the subject. These two (<a href=\"http://www.soundonsound.com/sos/feb10/articles/mixrescue_0210.htm\">article 1</a> and <a href=\"http://www.soundonsound.com/sos/dec08/articles/mixrescue.htm\">article 2</a>) look at how to improve clarity by editing out audio clutter, while these four (<a href=\"http://www.soundonsound.com/sos/jun10/articles/mixrescue_0610.htm\">article 1</a>, <a href=\"http://www.soundonsound.com/sos/nov09/articles/mixrescue_1109.htm\">article 2</a>, <a href=\"http://www.soundonsound.com/sos/mar10/articles/mixrescue_0310.htm\">article 3</a>, and <a href=\"http://www.soundonsound.com/sos/sep07/articles/mixrescue_0907.htm\">article 4</a>) focus on filling out instrumental textures, tightening arrangements, and introducing extra musical variation. All of these articles contain links to the \'before\' and \'after\' mixes for comparison purposes.<br><br></li>\r\n\r\n\r\n\r\n</ul>',1,6,16,1,1,1,1425325422,1,1437718465,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'ms-ch7.htm',0,0,1,NULL),(10,'document','text/html','MSFTSS_Ch08Resources','Chapter 8: Building The Raw Balance','','ms-ch8','',1,0,0,23,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#audio\">AUDIO FILES</a> -- <a href=\"#updates\">UPDATES</a> -- <a href=\"#links\">LINKS</a></h5>\r\n\r\n\r\n<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/Ch8/MSFTSS_Ch8_WAVs.zip`]]\">16MB ZIP</a>)</span></h3>\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Unwanted Subsonics:</strong> Here are two examples of real-world small-studio recordings containing high levels of unwanted extreme low-frequency energy: a vocal [[playerWavMp3Button? &exampleNumber=`08.01` &exampleFile=`Ch8/MS0801_SubsonicsVocal_MR0904`]] and an acoustic guitar [[playerWavMp3Button? &exampleNumber=`08.02` &exampleFile=`Ch8/MS0802_SubsonicsAcGtr_MR1008`]]. In both cases this low-frequency information serves no useful tonal purpose, so is best removed with high-pass filtering in order to preserve low-end clarity and overall mix headroom.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Stereo Polarity And Phase Fixes:</strong> This audio example contains a section of a raw drum-overheads recording in which the left and right channels are out of polarity [[playerWavMp3Button? &exampleNumber=`08.03` &exampleFile=`Ch8/MS0803_OHRaw_MR1004`]]. This results in a disconcertingly wide sound in stereo and a loss of subjective low end in mono. Matching the polarity of the two mics [[playerWavMp3Button? &exampleNumber=`08.04` &exampleFile=`Ch8/MS0804_OHPolarityFix_MR1004`]] provides a much more believable stereo image and improves overall mono-compatibility. Lining up a slight timing disparity between the snare waveforms in each channel as well [[playerWavMp3Button? &exampleNumber=`08.05` &exampleFile=`Ch8/MS0805_OHPhaseFix_MR1004`]] improves the attack of this instrument in mono, as well as shifting it more towards the centre of the stereo image.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Inconsistent Phase-cancellation Between Layered Drum Samples:</strong> If you\'re going to layer more than one drum sample to create a single composite sound, then it\'s important that the samples are kept perfectly in sync with each other. If their relative timing shifts even slightly, then you\'ll find that sporadic phase cancellation will render the tonality inconsistent, as in this example [[playerWavMp3Button? &exampleNumber=`08.06` &exampleFile=`Ch8/MS0806_KickLayersPhaseSlip_MR0803`]], which features a pair of layered kick drum samples.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Creative Polarity Adjustment:</strong> This file [[playerWavMp3Button? &exampleNumber=`08.07` &exampleFile=`Ch8/MS0807_CreativePolarity`]] demonstrates the creative potential of polarity adjustment when working with multi-miked instruments -- in this case a triple-miked guitar part. The four contrasting guitar tones you can hear weren\'t created by EQ processing, but simply by mixing different amounts of the three mics and altering their relative polarities.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Tonal Shaping With Phase Rotation:</strong> Here is a \'mic plus DI\' recording of an acoustic guitar [[playerWavMp3Button? &exampleNumber=`08.08` &exampleFile=`Ch8/MS0808_AcGtrNoPhaseRotation_MR0811`]]. By simply rotating the phase of the microphone signal using Betabugs\'s <a href=\"http://www.betabugsaudio.com/plugs.php\"><i>Phasebug</i></a>[[$softwareLogoWin32bit]] plug-in, I can significantly alter the combined tone of the two signals [[playerWavMp3Button? &exampleNumber=`08.09` &exampleFile=`Ch8/MS0809_AcGtrPhaseRotation_MR0811`]].<br><br></li>\r\n\r\n</ul>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"updates\">UPDATES</a></h3>\r\n\r\n<ul>\r\n\r\n<li><strong>Low-pass Filtering:</strong> Given the emphasis on high-pass filtering in this chapter, reader Dave Romero contacted me to ask whether low-pass filtering should also be used in a similar way at this point in the mix. My answer to this is that low-pass filtering in such a systematic way holds fewer benefits, simply because so many instruments will have inportant harmonics and noise components that extend right up the spectrum. In practice, I find peaking/shelving cuts are therefore more appropriate for dealing with masking in most cases. That said, there\'s nothing wrong with low-pass filtering if you really want to kill the high end of an instrument for balancing reasons, and I do resort to it myself from time to time -- most commonly with noisy amped instruments or over-fizzy distorted DI signals. However, if you\'re following the book\'s step-by-step mixing approach, then it would be best to leave such processing until you reach Chapter 11, and I\'d also advise being as sparing as you can with it, simply because it\'s very easy to rob the mix of \'air\' if you low-pass too many things at once.<br><br></li>\r\n\r\n</ul>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"links\">LINKS</a></h3>\r\n\r\n<ul>\r\n\r\n[[$MSRecommendedLogo]]<br><br>\r\n<a name=\"32bit\"></a>\r\n<li><strong>Using 32-bit Plug-ins With A 64-bit Host:</strong> Although most modern software DAW systems now use 64-bit coding, there are plenty of great \'legacy\' freeware plug-ins that are only available with 32-bit coding. If your 64-bit DAW system doesn\'t automatically \'bridge\' 32-bit plug-ins, then try using <a href=\"https://jstuff.wordpress.com/jbridge/\"><i>jBridge</i></a>[[$softwareLogoWin]], <a href=\"https://jstuff.wordpress.com/jbridgem/\"><i>jBridgeM</i></a>[[$softwareLogoMac]], or Sound Radix <a href=\"http://www.soundradix.com/products/32-lives\"><i>32 Lives</i></a>[[$softwareLogoMac]] to convert them.<br><br></li>\r\n\r\n<li><strong>Using VST Plug-ins On A Mac Or With Pro Tools:</strong> If you like the look of some of the freeware Windows VST plug-ins listed in these resource pages, but you\'re working on a Mac, check out the freeware <a href=\"http://diaphone.blogspot.de/2010/12/11.html\"><i>Plugwire</i></a>[[$softwareLogoMac]] utility or DDMF\'s affordable <a href=\"http://www.ddmf.eu/product.php?id=3\"><i>Metaplugin</i></a>[[$softwareLogoMac]][[$softwareLogoWin]]. The latter can also be used to \'wrap\' VST plug-ins into either RTAS or AAX format for use with Avid\'s <i>Pro Tools</i>.<br><br></li>\r\n\r\n<li><strong>Affordable High-pass Filter Plug-ins:</strong> Brainworx\'s freeware [[$software_Brainworx_BXCleansweep]] features high-quality 6dB/octave high-pass and low-pass filters, as well as an input gain control. GVST\'s freeware <a href=\"http://www.gvst.co.uk/ghi.htm\"><i>GHi</i></a>[[$softwareLogoWin]] provides a more CPU-light high-pass filter with gain. Cockos\'s freeware [[$software_Cockos_ReaEQ]] includes 12dB/octave high-pass filtering, and multiple bands can be stacked to create steeper slopes if required.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Affordable Gain Plug-ins:</strong> For preliminary gain setting and general in-DAW gain management, I use GVST\'s freeware [[$software_GVST_GFader]] and [[$software_GVST_GGain]], although Sonalksis\'s freeware [[$software_Sonalksis_FreeG]] is another good option.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Affordable Stereo-manipulation Plug-ins:</strong> My favourite width-manipulation plug-in is Voxengo\'s freeware [[$software_Voxengo_MSED]], but for more detailed image-manipulation facilities and vectorscope display, Flux\'s freeware [[$software_Flux_StereoTool]] is great. ToneBooster\'s affordable [[$software_ToneBoosters_TBEqualizer]] also has a cool frequency-dependent phase-correllation display.<br><br></li>\r\n\r\n\r\n<li><strong><a name=\"links-phase\">Affordable Phase-manipulation Plug-ins:</a></strong> There\'s lots of 32-bit VST freeware available for PC: Audiocation\'s <a href=\"https://www.audiocation.de/plugin\"><i>Phase AP1</i></a>[[$softwareLogoWin]], Betabugs\'s <a href=\"http://www.betabugsaudio.com/plugs.php\"><i>Phasebug</i></a>[[$softwareLogoWin32bit]], Variety Of Sound\'s <a href=\"[[$URL_VarietyOfSound_VSTs]]\"><i>PreFIX</i></a>[[$softwareLogoWin32bit]], and two of the plug-ins in the Cockos [[$software_Cockos_ReaPlugs]] bundle (the all-pass filter in <a href=\"http://wiki.cockos.com/wiki/index.php/ReaEQ\"><i>ReaEQ</i></a> and the <a href=\"http://wiki.cockos.com/wiki/index.php/Jesusonic_Effects_Documentation\">Jesusonic Phase Adjust module in <i>ReaJS</i></a>). Mac freeware is thinner on the ground, Airwindows\'s [[$software_AirWindows_PhaseNudge]] being the only free plug-in I\'m aware of. If you\'re after something cross-platform and 64-bit, then try Voxengo\'s [[$software_Voxengo_PHA-979]].<br><br></li>\r\n\r\n\r\n\r\n</ul>',1,6,17,1,1,1,1425325751,1,1437718480,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'ms-ch8.htm',0,0,1,NULL),(11,'document','text/html','MSFTSS_Ch09Resources','Chapter 9: Compressing For A Reason','','ms-ch9','',1,0,0,23,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#audio\">AUDIO FILES</a> -- <a href=\"#links\">LINKS</a> -- <a href=\"#reading\">FURTHER READING</a></h5>\r\n\r\n\r\n<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/Ch9/MSFTSS_Ch9_WAVs.zip`]]\">42MB ZIP</a>)</span></h3>\r\n\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Effects Of Different Compressor Time Settings On Drums:</strong> These audio examples support Figure 9.9 in the book by demonstrating the audible effects of different attack-time and release-time settings on a snare-drum sound. The first file contains an unprocessed snare-drum sample [[playerWavMp3Button? &exampleNumber=`09.01` &exampleFile=`Ch9/MS0901_SnareNoComp`]]. This file [[playerWavMp3Button? &exampleNumber=`09.02` &exampleFile=`Ch9/MS0902_SnareCompFastAttFastRel`]] demonstrates what the snare sounds like when processed at a ratio of 20:1 with fast attack and fast release times. Because the compressor reduces and resets the gain so quickly, the result is that the initial percussive transient is dipped in relation to the sound of the drum as a whole. The next file [[playerWavMp3Button? &exampleNumber=`09.03` &exampleFile=`Ch9/MS0903_SnareCompFastAttSlowRel`]] uses the same fast-attack 20:1-ratio compression, but with a longer release time so that the gain reduction resets negligibly during the drum hit. This means that all the compressor really does is reduce the level of the whole drum hit, rather than significantly affecting the hit\'s character, and were there any volume differences between the hits the compression would serve to even out this irregularity. If I now also increase the attack time to around 30ms, a small section of the initial percussive transient can sneak past the compressor before it has the chance to react, as you can hear in this file [[playerWavMp3Button? &exampleNumber=`09.04` &exampleFile=`Ch9/MS0904_SnareCompSlowAttSlowRel`]]. The end result is that the drum\'s sustain tail is reduced in level relative to its transient.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Potentially Undesirable Side-effects Of Compressor Time Settings:</strong> Attack and release times which are too short can cause problems with bass instruments, because they track the slow-moving audio waveform, introducing potentially unwanted distortion. For example, in this file [[playerWavMp3Button? &exampleNumber=`09.05` &exampleFile=`Ch9/MS0905_BassAttRelDistortion`]] I\'ve compressed the bass guitar fairly firmly at a 4:1, starting off with attack and release time settings of 0.3ms and 70ms respectively. As the file progresses, the time settings gradually shorten to end up at 1 microsecond and 1ms respectively. As this occurs, you can first hear the attack of each bass note being dulled, and then distortion creeping in as the compressor begins tracking the individual waveform excursions. Another side-effect of inappropriate compressor time settings can be a loss of low end on low-frequency percussion such as kick drums. Take this drum sample, for instance [[playerWavMp3Button? &exampleNumber=`09.06` &exampleFile=`Ch9/MS0906_KickNoComp`]]. If I now compress that drum with a ratio of 20:1, using a 20ms attack time and an even faster release, you can hear how the sound\'s low-frequency weight suffers [[playerWavMp3Button? &exampleNumber=`09.07` &exampleFile=`Ch9/MS0907_KickComp`]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Parallel Compression:</strong> Parallel compression can be very effective for emphasising sustain without destroying transients and dynamic performance nuances. As such it can be very effective for drums, as in these two examples: Example 1 uncompressed [[playerWavMp3Button? &exampleNumber=`09.08` &exampleFile=`Ch9/MS0908_Drums1NoComp_MR1001`]] and compressed [[playerWavMp3Button? &exampleNumber=`09.09` &exampleFile=`Ch9/MS0909_Drums1ParaComp_MR1001`]]; Example 2 uncompressed [[playerWavMp3Button? &exampleNumber=`09.10` &exampleFile=`Ch9/MS0910_Drums2NoComp_MR0911`]] and compressed [[playerWavMp3Button? &exampleNumber=`09.11` &exampleFile=`Ch9/MS0911_Drums2ParaComp_MR0911`]]. However, although the technique is best known for drum-processing, it also works very well for other instruments which carry important transient information, such as piano, harp, and guitar. By way of illustration, here\'s an example of a clean electric guitar recording without any compression [[playerWavMp3Button? &exampleNumber=`09.12` &exampleFile=`Ch9/MS0912_GtrNoComp_MR0702`]] which has then been treated to parallel compression to add warmth and sustain [[playerWavMp3Button? &exampleNumber=`09.13` &exampleFile=`Ch9/MS0913_GtrParaComp_MR0702`]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Using The Tonal Side-effects Of Compression:</strong> Different compressor designs have different tonal side-effects, although the differences between them are usually fairly subtle. For example, compare this uncompressed vocal phrase [[playerWavMp3Button? &exampleNumber=`09.14` &exampleFile=`Ch9/MS0914_VoxTonalCompOut_MR0903`]] with the compressed versions from three different freeware analogue-modelling plug-ins: Digital Fishphones [[$software_DigitalFishphones_Blockfish]] [[playerWavMp3Button? &exampleNumber=`09.15` &exampleFile=`Ch9/MS0915_VoxTonalComp1_MR0903`]], Tin Brooke Tales <i><a href=\"[[$URL_TinBrookeTales_VSTs]]\">TLS3127LEA</a></i>[[$softwareLogoWin32bit]] [[playerWavMp3Button? &exampleNumber=`09.16` &exampleFile=`Ch9/MS0916_VoxTonalComp2_MR0903`]], and Tin Brooke Tales <i><a href=\"[[$URL_TinBrookeTales_VSTs]]\">TLS2095LA</a></i>[[$softwareLogoWin32bit]] [[playerWavMp3Button? &exampleNumber=`09.17` &exampleFile=`Ch9/MS0917_VoxTonalComp3_MR0903`]] -- all three were compressing roughly the same amount. Chaining several compressors together allows you to combine these different tonal characteristics. Here, for example, is another uncompressed vocal section [[playerWavMp3Button? &exampleNumber=`09.18` &exampleFile=`Ch9/MS0918_VoxTonalSerialCompOut_MR0911`]], and here\'s the same section compressed with Fairchild 670 and Urei 1176LN compressor emulations in series [[playerWavMp3Button? &exampleNumber=`09.19` &exampleFile=`Ch9/MS0919_VoxTonalSerialCompIn_MR0911`]]. You can get even more creative by running the processors in parallel instead, as in the following example: this section of uncompressed vocal [[playerWavMp3Button? &exampleNumber=`09.20` &exampleFile=`Ch9/MS0920_VoxTonalParaCompOut_MR0903`]] has been processed with an array of five different compressors in parallel to generate this file [[playerWavMp3Button? &exampleNumber=`09.21` &exampleFile=`Ch9/MS0921_VoxTonalParaCompIn_MR0903`]]. Notice how the parallel approach has not only significantly altered the tone, but has also very effectively contained the dynamic range.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Vocal Balancing:</strong> Here\'s a real-world demonstration of the roles of compression and level automation when setting the vocal balance in a mix. First of all, listen to this section of my full mix [[playerWavMp3Button? &exampleNumber=`09.22` &exampleFile=`Ch9/MS0922_VoxBalanceCompAuto_MR0812`]] for this <a href=\"http://www.soundonsound.com/sos/dec08/articles/mixrescue.htm\">Mix Rescue</a> project. Now compare that with this version [[playerWavMp3Button? &exampleNumber=`09.23` &exampleFile=`Ch9/MS0923_VoxBalanceCompNoAuto_MR0812`]], where I\'ve bypassed the level automation. Although there\'s still an enormous amount of compression being applied to the vocal, it\'s not as consistently upfront-sounding, because the processing just isn\'t intelligent enough to judge how audible the vocal needs to be within the context of the mix. If I switch out the compression too [[playerWavMp3Button? &exampleNumber=`09.24` &exampleFile=`Ch9/MS0924_VoxBalanceNoCompNoAuto_MR0812`]] you can hear how the vocal struggles to hold a consistent place in the mix -- for example, given the lyric \'Heading for the rock stop at the front gate because I\'m banned from the rock show\', you can hear how syllables such as \'-ing\', \'the front\', and \'be-\' in particular are getting lost, which compromises the comprehensibility of the lyrics.<br><br></li>\r\n\r\n</ul>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"links\">LINKS</a></h3>\r\n\r\n<ul>\r\n\r\n[[$MSRecommendedLogo]]<br><br>\r\n\r\n<li><strong>Affordable Compressor Plug-ins:</strong> Cockos\'s freeware [[$software_Cockos_ReaComp]] and Melda\'s freeware [[$software_Melda_MCompressor]] are both excellent workhorse designs, with bags of user control  For a simpler introduction to compression, try Tin Brooke Tales\'s <a href=\"[[$URL_TinBrookeTales_VSTs]]\"><i>TLS3127LEA</i></a>[[$softwareLogoWin32bit]], which provides something like the Teletronix LA2A\'s control set. Beyond these more general-purpose suggestions, here are some compressors with a range of different tonal side-effects for you to experiment with: the freeware [[$software_AntressModern_PluginCollection]]; Digital Fishphones\'s freeware [[$software_DigitalFishphones_Blockfish]] (but beware that it won\'t report its processing latency correctly to your DAW so it\'s less suitable for parallel-processing applications); Variety Of Sound\'s freeware <a href=\"[[$URL_VarietyOfSound_VSTs]]\"><i>Density MkII</i></a>[[$softwareLogoWin32bit]], <a href=\"[[$URL_VarietyOfSound_VSTs]]\"><i>ThrillseekerVBL/LA/XTC</i></a>[[$softwareLogoWin32bit]], and <a href=\"[[$URL_VarietyOfSound_VSTs]]\"><i>NastyVCS</i></a>[[$softwareLogoWin32bit]]; Solid State Logic\'s freeware <a href=\"http://www.solid-state-logic.com/music/LMC-1/\"><i>LMC1</i></a>[[$softwareLogoMac32]][[$softwareLogoWin32bit]]; Audio Damage\'s freeware <a href=\"http://www.audiodamage.com/downloads/product.php?pid=ADF002\"><i>Rough Rider</i></a>[[$softwareLogoMac]][[$softwareLogoWin]]; Silverspike\'s freeware [[$software_Silverspike_RubyTube]]; Stillwell Audio\'s affordable [[$software_StillwellAudio_TheRocket]] and [[$software_StillwellAudio_MajorTom]]. <br><br></li>\r\n\r\n\r\n\r\n<li><strong>Affordable Limiter Plug-ins:</strong> Georg Yohng\'s freeware [[$software_GeorgeYohng_W1]]; Tin Brooke Tales\'s freeware <a href=\"[[$URL_TinBrookeTales_VSTs]]\"><i>Pocket Limiter</i></a>[[$softwareLogoWin32bit]]; and Sweetboy\'s freeware <a href=\"http://rekkerd.org/sweetboy-vst\"><i>Volcano</i></a>[[$softwareLogoWin32bit]]; Kjaerhus Audio\'s freeware [[$software_Kjaerhus_ClassicMasterLimiter]]. If you need an additional level-reduction plug-in so that you can use mastering-style limiters for individual channel processing, then try GVST\'s freeware [[$software_GVST_GFader]] or Sonalksis\'s freeware [[$software_Sonalksis_FreeG]].<br><br></li>\r\n\r\n\r\n\r\n</ul>\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"reading\">FURTHER READING</a></h3>\r\n\r\n\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>How To Use Classic Compressors:</strong> Many small-studio owners have access to a variety of digital emulations of classic analogue compressor designs. But which emulations are best suited to which musical applications? This <a href=\"http://www.soundonsound.com/sos/sep09/articles/classiccompressors.htm\">article</a> provides some useful pointers.<br><br></li>\r\n\r\n\r\n\r\n</ul>',1,6,18,1,1,1,1425326244,1,1437718503,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'ms-ch9.htm',0,0,1,NULL),(12,'document','text/html','MSFTSS_Ch10Resources','Chapter 10: Beyond Compression','','ms-ch10','',1,0,0,23,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#audio\">AUDIO FILES</a> -- <a href=\"#updates\">UPDATES</a> -- <a href=\"#links\">LINKS</a> -- <a href=\"#reading\">FURTHER READING</a></h5>\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"audio\">AUDIO FILES</a> <span class=\"spanExampleFile\">(To download all WAV examples at once: <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/MSFTSS/Ch10/MSFTSS_Ch10_WAVs.zip`]]\">15MB ZIP</a>)</span></h3>\r\n\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Dedicated Transient Processing:</strong> Here are a couple of contrasting real-world kick-drum processing examples which demonstrate the power of transient-driven dynamics processing. The first is a soft-sounding sample [[playerWavMp3Button? &exampleNumber=`10.01` &exampleFile=`Ch10/MS1001_Kick1NoTransProc_MR0905`]] which I heavily processed to increase attack and reduce sustain [[playerWavMp3Button? &exampleNumber=`10.02` &exampleFile=`Ch10/MS1002_Kick1TransProc_MR0905`]] for this <a href=\"http://www.soundonsound.com/sos/may09/articles/mixrescue_0509.htm\">Mix Rescue</a> project. For this <a href=\"http://www.soundonsound.com/sos/apr09/articles/mixrescue_0409.htm\">Mix Rescue</a>, on the other hand, the original kick-drum sample [[playerWavMp3Button? &exampleNumber=`10.03` &exampleFile=`Ch10/MS1003_Kick2NoTransProc_MR0904`]] was softened and lengthened by reducing the attack and adding sustain [[playerWavMp3Button? &exampleNumber=`10.04` &exampleFile=`Ch10/MS1004_Kick2TransProc_MR0904`]]. Notice here that some mild distortion has been introduced as well, by virtue of the transient processing attempting to track some of the low-frequency waveform movements, but in practice this caused me no concerns within the context of this mix. One final common application of transient processing is in taking the edge off pick noises on acoustic-guitar recordings. Here\'s an example to demonstrate how effective this fix it: this is the unprocessed recording [[playerWavMp3Button? &exampleNumber=`10.05` &exampleFile=`Ch10/MS1005_AcGtr4Raw`]], and here\'s the transient-reduced version [[playerWavMp3Button? &exampleNumber=`10.06` &exampleFile=`Ch10/MS1006_AcGtr4Trans`]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Tempo-driven Balancing:</strong> Here\'s an example to show how tempo-synchronisation can serve useful mix-balancing purposes. Here is an electric guitar part with lots of recorded-in delay [[playerWavMp3Button? &exampleNumber=`10.07` &exampleFile=`Ch10/MS1007_GtrArpNoTremolo_MR1007`]]. By synchronising U-He\'s flexible [[$software_U-he_Uhbik-T]] tremolo plug-in to the project tempo, I can use it to reduce the note sustain between the sixteenth-note picking transients [[playerWavMp3Button? &exampleNumber=`10.08` &exampleFile=`Ch10/MS1008_GtrArpTremolo_MR1007`]].<br><br></li>\r\n\r\n</ul>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"updates\">UPDATES</a></h3>\r\n\r\n<ul>\r\n\r\n<li><strong>Update:</strong> In Figure 10.2 I describe <i>Logic</i>\'s bundled <i>Envelope Shaper</i> plug-in as a threshold-dependent transient processor. Many thanks to reader Lorenz Reichelt for alerting me that this plug-in can also function in a threshold-independent manner if you set its Threshold control to its lowest possible value.<br><br></li>\r\n\r\n</ul>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"links\">LINKS</a></h3>\r\n\r\n<ul>\r\n\r\n[[$MSRecommendedLogo]]<br><br>\r\n\r\n<li><strong>Affordable Expander/Gate Plug-ins:</strong> Most DAW systems have some kind of expander or gate built in, but if not then Cockos\'s freeware [[$software_Cockos_ReaGate]] is worth consideration, as it\'s very well-specified. There are also several different expander algorithms lurking within the freeware Cockos [[$software_Cockos_ReaJS]] plug-in.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Affordable Threshold-independent Transient Processor Plug-ins:</strong> Threshold-independent transient processors are getting more popular, but I find that each one has a slightly different sound, so it\'s worth having access to a few. As far as freeware is concerned, check out Flux\'s [[$software_Flux_BitterSweet]], Sleepy-Time DSP\'s freeware <a href=\"http://bedroomproducersblog.com/2014/09/20/sleepy-time-dsp/\"><i>Transient</i></a>[[$softwareLogoWin]], or the Transhape and Transient Controller algorithms in Cockos\'s freeware [[$software_Cockos_ReaJS]]. Other reasonably-priced options include SPL <a href=\"http://www.spl.info/index.php?id=333&L=1\"><i>Transient Designer</i></a>[[$softwareLogoMac]][[$softwareLogoWin]], Stillwell Audio [[$software_StillwellAudio_TransientMonster]], Voxengo <a href=\"http://www.voxengo.com/product/transgainer/\"><i>Transgainer</i></a>[[$softwareLogoMac]][[$softwareLogoWin]], and Waves <a href=\"http://www.waves.com/Content.aspx?id=286\"><i>TransX</i></a>[[$softwareLogoMac]][[$softwareLogoWin]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Affordable Tempo-driven Dynamics Plug-ins:</strong> I love the affordable Cableguys [[$software_Cableguys_VolumeShaper]] and U-he [[$software_U-he_Uhbik-T]] for tempo-driven dynamics effects, but there\'s also lots of freeware available, such as Melda [[$software_Melda_MTremolo]], AraldFX <a href=\"http://www.araldfx.com/sg1/\"><i>StormGate1</i></a>[[$softwareLogoMac]][[$softwareLogoWin32bit]], and Tweakbench <a href=\"http://www.tweakbench.com/cairo\"><i>Cairo</i></a>[[$softwareLogoWin32bit]].<br><br></li>\r\n\r\n\r\n\r\n</ul>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"reading\">FURTHER READING</a></h3>\r\n\r\n\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>More Information On Gating:</strong> You can read in detail about the theory and practice of gating <a href=\"http://www.soundonsound.com/sos/apr01/articles/advanced.asp\">here</a> and <a href=\"http://www.soundonsound.com/sos/may01/articles/advancedgating.pt2.asp\">here</a>. The second article also talks about how to use gates to produce tempo-triggered dynamic effects.<br><br></li>\r\n\r\n\r\n\r\n</ul>',1,6,19,1,1,1,1425365873,1,1461306686,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'ms-ch10.htm',0,0,1,NULL),(14,'document','text/html','MSFTSS_Ch12Resources','Chapter 12: Beyond EQ','','ms-ch12','',1,0,0,23,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#audio\">AUDIO FILES</a> -- <a href=\"#links\">LINKS</a> -- <a href=\"#reading\">FURTHER READING</a></h5>\r\n\r\n\r\n<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/Ch12/MSFTSS_Ch12_WAVs.zip`]]\">186MB ZIP</a>)</span></h3>\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Distortion At Mixdown:</strong> Distortion can work wonders for adding body and sustain to percussion. Take this kick drum, for example [[playerWavMp3Button? &exampleNumber=`12.01` &exampleFile=`Ch12/MS1201_Kick4NoDist_MR0910`]], and hear how its tone and length can be enhanced by judicious parallel distortion processing without any risk of the drum \'breaking up\' [[playerWavMp3Button? &exampleNumber=`12.02` &exampleFile=`Ch12/MS1202_Kick4Dist_MR0910`]]. For pitched instruments, distortion can have many uses at mixdown. For bass, it can add mid-range emphasis so that the sound carries through better on small speakers, as in this example [[playerWavMp3Button? &examplePrefix=`without distortion ` &exampleNumber=`12.03` &exampleFile=`Ch12/MS1203_BassSynth1NoDist_MR0907` &examplePrefix2=`with distortion ` &exampleNumber2=`12.04` &exampleFile2=`Ch12/MS1204_BassSynth1Dist_MR0907`]]. For soft-sounding electric guitar tones like this [[playerWavMp3Button? &exampleNumber=`12.05` &exampleFile=`Ch12/MS1205_GtrDRaw_MR1008`]], there\'s only so much you can harden up the tone with EQ -- this is about the best I could do [[playerWavMp3Button? &exampleNumber=`12.06` &exampleFile=`Ch12/MS1206_GtrDNoDist_MR1008`]]. Adding in controlled distortion, however, is much more successful [[playerWavMp3Button? &exampleNumber=`12.07` &exampleFile=`Ch12/MS1207_GtrDDist_MR1008`]]. Rock lead vocals often benefit from some distortion to help them overcome the powerful masking effects of dense and distorted instrumental textures. Take this lead vocal, for example [[playerWavMp3Button? &exampleNumber=`12.08` &exampleFile=`Ch12/MS1208_Vox1NoDist_MR1003`]]. Although it has plenty of high-frequency definition on its own, once it\'s in the mix [[playerWavMp3Button? &exampleNumber=`12.09` &exampleFile=`Ch12/MS1209_Vox1NoDistContext_MR1003`]] it seems veiled and lacking presence. Adding extra high-frequency density to the sound with a parallel distortion effect makes the voice sound a bit crunchy in solo [[playerWavMp3Button? &exampleNumber=`12.10` &exampleFile=`Ch12/MS1210_Vox1Dist_MR1003`]], but clearer and closer within the mix as a whole [[playerWavMp3Button? &exampleNumber=`12.11` &exampleFile=`Ch12/MS1211_Vox1DistContext_MR1003`]]. When using parallel distortion, however, you need to be careful that the distortion contribution doesn\'t cause undesirable phase-cancellation with the undistorted sound, as in the following example. The lead vocal from this <a href=\"http://www.soundonsound.com/sos/apr10/articles/mixrescue_0410.htm\">Mix Rescue</a> was short on aggression and midrange density [[playerWavMp3Button? &exampleNumber=`12.12` &exampleFile=`Ch12/MS1212_Vox2NoDist_MR1004`]], but adding in a promising-sounding parallel distortion effect initially made the sound boxy in a really nasty way on account of unfavourable phase-cancellation [[playerWavMp3Button? &exampleNumber=`12.13` &exampleFile=`Ch12/MS1213_Vox2DistPhaseOut_MR1004`]]. Simply phase-rotating the distortion return channel gave a much more useful tone [[playerWavMp3Button? &exampleNumber=`12.14` &exampleFile=`Ch12/MS1214_Vox2DistPhaseIn_MR1004`]], without any change whatsoever to the parameters of the distortion effect itself.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Programmed Subsynths & Doublings At Mixdown:</strong> Let\'s say that you decide this bass-guitar sound is lacking in low end [[playerWavMp3Button? &exampleNumber=`12.15` &exampleFile=`Ch12/MS1215_Bass1DIReamp_MR1008`]]. One option would be to apply a subharmonic synthesizer effect of one sort or another, but in my experience more predictable results are usually delivered by programming a complementary subsynth line [[playerWavMp3Button? &exampleNumber=`12.16` &exampleFile=`Ch12/MS1216_Bass1Sub_MR1008`]] which can be combined in a carefully controlled manner [[playerWavMp3Button? &exampleNumber=`12.17` &exampleFile=`Ch12/MS1217_Bass1DIReampSub_MR1008`]]. Notice that although the synth\'s artificial nature is clearly apparent when it\'s soloed, it nonetheless melts inconspicuously into the mix as part of the composite bass-guitar sound. Adding a subsynth patch underneath an existing bass part isn\'t necessarily just about frequency information, though, because it can also be used to add rhythmic impetus, as in this example: without subsynth [[playerWavMp3Button? &exampleNumber=`12.18` &exampleFile=`Ch12/MS1218_BassSynth2NoSubRhythm_MR0905`]] and with sub-synth [[playerWavMp3Button? &exampleNumber=`12.19` &exampleFile=`Ch12/MS1219_BassSynth2SubRhythm_MR0905`]]. Furthermore, doubling bass lines with MIDI sounds in a higher register also has its uses for filling out the line\'s apparent mid-range tone, as in this example where a distorted and flanged MIDI clavinet sound is being used: here\'s the mix without the doubling [[playerWavMp3Button? &exampleNumber=`12.20` &exampleFile=`Ch12/MS1220_Bass2NoDouble_MR1103`]] and with the doubling [[playerWavMp3Button? &exampleNumber=`12.21` &exampleFile=`Ch12/MS1221_Bass2Double_MR1103`]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Reamping &amp; Overdubbing At Mixdown:</strong> Software reamping can be very useful for replacing inappropriate bass-amp sounds. For instance, the bass DI signal [[playerWavMp3Button? &exampleNumber=`12.22` &exampleFile=`Ch12/MS1222_Bass1DI_MR1008`]] from this <a href=\"http://www.soundonsound.com/sos/aug10/articles/mixrescue-0810.htm\">Mix Rescue</a> project, sounded fairly promising with just a little EQ, compression, and ambience. However, the raw recording of the bassist\'s amp [[playerWavMp3Button? &exampleNumber=`12.23` &exampleFile=`Ch12/MS1223_Bass1Amp_MR1008`]], while not obviously broken-sounding, nonetheless wasn\'t adding anything very useful in terms of low end or sonic character when combined with the DI [[playerWavMp3Button? &exampleNumber=`12.24` &exampleFile=`Ch12/MS1224_Bass1DIAmp_MR1008`]]. Experiments with EQ failed to unearth a more appealing tone, so I reamped the DI signal instead [[playerWavMp3Button? &exampleNumber=`12.25` &exampleFile=`Ch12/MS1225_Bass1Reamp_MR1008`]], which yielded a much more successful combination [[playerWavMp3Button? &exampleNumber=`12.26` &exampleFile=`Ch12/MS1226_Bass1DIReamp_MR1008`]]. Reamping can also be used to supplement guitar parts by adding new tonal layers, as in the following <a href=\"http://www.soundonsound.com/sos/dec09/articles/mixrescue_1209.htm\">Mix Rescue</a> example. Here\'s a mix of the supplied bass-guitar and double-tracked rhythm guitar parts [[playerWavMp3Button? &exampleNumber=`12.27` &exampleFile=`Ch12/MS1227_GtrA1BassMix_MR0912`]]. Because the rhythm guitar had been overdriven too much, mix processing wasn\'t able to give the sound any character or improve the note definition. Fortunately, a DI feed from the guitars had also been recorded during tracking, so I was able to layer in two reamped parts [[playerWavMp3Button? &exampleNumber=`12.28` &exampleFile=`Ch12/MS1228_GtrA2_MR0912` &exampleNumber2=`12.29` &exampleFile2=`Ch12/MS1229_GtrA3_MR0912`]] to achieve a much more satisfactory tonal transformation, as you can hear when all the parts are mixed together, along with an additional subsynth part I programmed to fill out the low end [[playerWavMp3Button? &exampleNumber=`12.30` &exampleFile=`Ch12/MS1230_GtrA123BassSubMix_MR0912`]]. One final <a href=\"http://www.soundonsound.com/sos/mar10/articles/mixrescue_0310.htm\">Mix Rescue</a> reamping example, this time in a full-mix context: here\'s the mix without any reamped additions [[playerWavMp3Button? &exampleNumber=`12.31` &exampleFile=`Ch12/MS1231_GtrCNoReampContext_MR1003`]] and with the reamped layers added [[playerWavMp3Button? &exampleNumber=`12.32` &exampleFile=`Ch12/MS1232_GtrCReampContext_MR1003`]]. Where reamping is not an option for whatever reason, you can still pull similar stunts by surreptitious overdubbing, as in the following example from this <a href=\"http://www.soundonsound.com/sos/feb08/articles/mixrescue_0208.htm\">Mix Rescue</a> project. Here\'s the original double-tracked guitar recording [[playerWavMp3Button? &exampleNumber=`12.33` &exampleFile=`Ch12/MS1233_GtrB1Raw_MR0802`]], which has once again lost note definition by being too heavily overdriven during recording. A stiff dose of mix processing improves things a little [[playerWavMp3Button? &exampleNumber=`12.34` &exampleFile=`Ch12/MS1234_GtrB1Proc_MR0802`]], but adding in a simple double-tracked overdub part [[playerWavMp3Button? &exampleNumber=`12.35` &exampleFile=`Ch12/MS1235_GtrB2Overdubs_MR0802`]] is able to take the combined tone much further [[playerWavMp3Button? &exampleNumber=`12.36` &exampleFile=`Ch12/MS1236_GtrB12Mix_MR0802`]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Triggering Samples At Mixdown:</strong> Some subharmonic synthesizer plug-ins can add weight to drums quite successfully, as in this example where a kick drum [[playerWavMp3Button? &exampleNumber=`12.37` &exampleFile=`Ch12/MS1237_Kick1NoSub_MR0907`]] is processed with the 50HzKicker algorithm in Cockos\'s freeware [[$software_Cockos_ReaJS]] plug-in to add a rhythmic 45Hz low-frequency sine-wave pulse [[playerWavMp3Button? &exampleNumber=`12.38` &exampleFile=`Ch12/MS1238_Kick1SubSolo_MR0907`]]. Combining the two gives a heavier and lengthier end result [[playerWavMp3Button? &exampleNumber=`12.39` &exampleFile=`Ch12/MS1239_Kick1WithSub_MR0907`]]. However, because subharmonic synthesizers can be a bit fickle in how they respond, I usually prefer filling out drum sounds by layering additional samples alongside. So when presented with the task of adding attack and weight to the kick drum [[playerWavMp3Button? &exampleNumber=`12.40` &exampleFile=`Ch12/MS1240_Kick2ProcNoSample_MR1002`]] within this <a href=\"http://www.soundonsound.com/sos/feb10/articles/mixrescue_0210.htm\">Mix Rescue</a> project, I chose instead to layer in a carefully selected sample [[playerWavMp3Button? &exampleNumber=`12.41` &exampleFile=`Ch12/MS1241_Kick2SampleSolo_MR1002`]], easily achieving a much more useful combined tone than any mix processing would have been able to achieve [[playerWavMp3Button? &exampleNumber=`12.42` &exampleFile=`Ch12/MS1242_Kick2ProcWithSample_MR1002`]]. Your choice of additional sample in each case naturally depends on what elements the supplied drum sound is lacking, so (by way of contrast) in this <a href=\"http://www.soundonsound.com/sos/may09/articles/mixrescue_0509.htm\">Mix Rescue</a>, for example, where the supplied kick drum [[playerWavMp3Button? &exampleNumber=`12.43` &exampleFile=`Ch12/MS1243_Kick3ProcNoSample_MR0905`]] required additional midrange cut-through, I actually decided to layer an extra snare sample over it [[playerWavMp3Button? &exampleNumber=`12.44` &exampleFile=`Ch12/MS1244_Kick3SampleSolo_MR0905`]], resulting in this composite timbre [[playerWavMp3Button? &exampleNumber=`12.45` &exampleFile=`Ch12/MS1245_Kick3ProcWithSample_MR0905`]]. Added samples aren\'t just something for adding to kick drums either, because snares are often replaced, and even percussion can sometimes be usefully supplemented in this way, as in this <a href=\"http://www.soundonsound.com/sos/jul09/articles/mixrescue_0709.htm\">Mix Rescue</a> remix, which had a rather limp-sounding hi-hat part [[playerWavMp3Button? &exampleNumber=`12.46` &exampleFile=`Ch12/MS1246_HihatNoSample_MR0907`]]. Layering in a simple programmed hi-hat part with a more assertive sound [[playerWavMp3Button? &exampleNumber=`12.47` &exampleFile=`Ch12/MS1247_HihatSampleSolo_MR0907`]] gave a combined part with much more rhythmic impetus and solidity [[playerWavMp3Button? &exampleNumber=`12.48` &exampleFile=`Ch12/MS1248_HihatWithSample_MR0907`]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Pitch-shifting For Tonal Change At Mixdown:</strong> Here\'s an example from this <a href=\"http://www.soundonsound.com/sos/jul09/articles/mixrescue_0709.htm\">Mix Rescue</a> of changing the tone of a part using pitch-shifting. Although the original synth track in this case sounds like it would cut through the mix fine on its own [[playerWavMp3Button? &exampleNumber=`12.49` &exampleFile=`Ch12/MS1249_SynthNoShift_MR0907`]], in fact it was struggling to make its presence felt because of masking from other more important parts in the arrangement. My solution was to mix in a pitch-shifted upper octave [[playerWavMp3Button? &exampleNumber=`12.50` &exampleFile=`Ch12/MS1250_SynthShift_MR0907`]], relocating the sound\'s energy into a higher register and thereby side-stepping most of the masking issues.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Synth Pads At Mixdown:</strong> Synth pads are a lot more use at mixdown than a lot of people think, and the crimes of the 1980s are no reason to ignore the usefulness of this production technique. For a start, traditional block-chord pads can add subtle warmth and richness to a mix, even if you mix them in at a level where they can\'t be heard in their own right. Take this <a href=\"http://www.soundonsound.com/sos/jun10/articles/mixrescue_0610.htm\">Mix Rescue</a>, for instance. Here\'s a section of the mix without any pad [[playerWavMp3Button? &exampleNumber=`12.51` &exampleFile=`Ch12/MS1251_TexturePadOut_MR1006`]]. Adding this pad [[playerWavMp3Button? &exampleNumber=`12.52` &exampleFile=`Ch12/MS1252_TexturePadSolo_MR1006`]] doesn\'t make the full mix [[playerWavMp3Button? &exampleNumber=`12.53` &exampleFile=`Ch12/MS1253_TexturePadIn_MR1006`]] sound like it has a synth in it -- it just makes the guitars and bass feel fuller and more sustained. Even acoustic music that isn\'t normally associated with synths can be enhanced in this kind of way if the pad synth is programmed and mixed sensitively. For this <a href=\"http://www.soundonsound.com/sos/apr09/articles/mixrescue_0409.htm\">Mix Rescue</a>, for instance, I wanted to add extra warmth and sustain to the guitar, so one of the things I did was introduce this very subtle pad [[playerWavMp3Button? &exampleNumber=`12.54` &exampleFile=`Ch12/MS1254_NoteSusPadSolo_MR0904`]], changing this mix sound [[playerWavMp3Button? &exampleNumber=`12.55` &exampleFile=`Ch12/MS1255_NoteSusPadOut_MR0904`]] to this mix sound [[playerWavMp3Button? &exampleNumber=`12.56` &exampleFile=`Ch12/MS1256_NoteSusPadIn_MR0904`]]. Pads needn\'t just be about adding sustain, either, because you can easily enhance rhythmic parts too, as I did for the guitars in this <a href=\"http://www.soundonsound.com/sos/nov09/articles/mixrescue_1109.htm\">Mix Rescue</a>. The reason I did it was that the guitar tone had been distorted too much, and I wanted more \'note\' to the sound. Adding this pad [[playerWavMp3Button? &exampleNumber=`12.57` &exampleFile=`Ch12/MS1257_DistRedPadSolo_MR0911`]], enabled me to change the combined sound from this [[playerWavMp3Button? &exampleNumber=`12.58` &exampleFile=`Ch12/MS1258_DistRedPadOut_MR0911`]] to this [[playerWavMp3Button? &exampleNumber=`12.59` &exampleFile=`Ch12/MS1259_DistRedPadIn_MR0911`]], effectively reducing the level of guitar distortion by adding extra \'note\' synthetically. And I\'d challenge anyone to spot that there was a synth in there without knowing about it beforehand -- the band certainly didn\'t! Sometimes, though, it can still make sense for a synth pad to be audible, especially when it can supply additional stereo interest. For example, here\'s a synth part [[playerWavMp3Button? &exampleNumber=`12.60` &exampleFile=`Ch12/MS1260_MotionPadSolo_MR1003`]] I added during this <a href=\"http://www.soundonsound.com/sos/mar10/articles/mixrescue_0310.htm\">Mix Rescue</a> remix. Here\'s what the texture sounded like before [[playerWavMp3Button? &exampleNumber=`12.61` &exampleFile=`Ch12/MS1261_MotionPadOut_MR1003`]] and after [[playerWavMp3Button? &exampleNumber=`12.62` &exampleFile=`Ch12/MS1262_MotionPadIn_MR1003`]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>A Combination Of These Techniques In Practice:</strong> This particular <a href=\"http://www.soundonsound.com/sos/jun10/articles/mixrescue_0610.htm\">Mix Rescue</a> required several of the above techniques working together in order to achieve a fuller sound, as you can hear in this file [[playerWavMp3Button? &exampleNumber=`12.63` &exampleFile=`Ch12/MS1263_Mix1Full_MR1006`]]. Now let\'s progressively strip away all the added layers, so you can hear the extent of their contributions: some sample-library guitar parts [[playerWavMp3Button? &examplePrefix=`isolated ` &exampleNumber=`12.64` &exampleFile=`Ch12/MS1264_Mix1GtrSolo_MR1006` &examplePrefix2=`mix without ` &exampleNumber2=`12.65` &exampleFile2=`Ch12/MS1265_Mix1NoGtr_MR1006`]]; a synth pad [[playerWavMp3Button? &examplePrefix=`isolated ` &exampleNumber=`12.66` &exampleFile=`Ch12/MS1266_Mix1PadSolo_MR1006` &examplePrefix2=`mix without ` &exampleNumber2=`12.67` &exampleFile2=`Ch12/MS1267_Mix1NoGtrPad_MR1006`]]; a simple rhythmic electric-piano part [[playerWavMp3Button? &examplePrefix=`isolated ` &exampleNumber=`12.68` &exampleFile=`Ch12/MS1268_Mix1PnoSolo_MR1006` &examplePrefix2=`mix without ` &exampleNumber2=`12.69` &exampleFile2=`Ch12/MS1269_Mix1NoGtrPadPno_MR1006`]]; a selection of different cymbal samples [[playerWavMp3Button? &examplePrefix=`isolated ` &exampleNumber=`12.70` &exampleFile=`Ch12/MS1270_Mix1CymSolo_MR1006` &examplePrefix2=`mix without ` &exampleNumber2=`12.71` &exampleFile2=`Ch12/MS1271_Mix1NoGtrPadPnoCym_MR1006`]].<br><br></li>\r\n\r\n</ul>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"links\">LINKS</a></h3>\r\n\r\n<ul>\r\n\r\n[[$MSRecommendedLogo]]<br><br>\r\n\r\n<li><strong><a name=\"links-distortion\">Affordable Distortion Plug-ins:</a></strong> Lots of PC-only freeware delights here: GVST [[$software_GVST_GClip]] (which I use to death!) and <a href=\"http://www.gvst.co.uk/beta.htm\"><i>GRect</i></a>[[$softwareLogoWin]]; Togu Audio Line\'s freeware <a href=\"http://tal-software.com/products/tal-effects\"><i>TAL Tube</i></a>[[$softwareLogoWin]]; Variety Of Sound\'s <a href=\"[[$URL_VarietyOfSound_VSTs]]\"><i>FerricTDS</i></a>[[$softwareLogoWin32bit]], <a href=\"[[$URL_VarietyOfSound_VSTs]]\"><i>TesslaSE</i></a>[[$softwareLogoWin32bit]], and <a href=\"[[$URL_VarietyOfSound_VSTs]]\"><i>TesslaPRO</i></a>[[$softwareLogoWin32bit]]; Silverspike [[$software_Silverspike_RubyTube]]; Tin Brooke Tales <a href=\"[[$URL_TinBrookeTales_VSTs]]\"><i>TLS Saturated Driver</i></a>[[$softwareLogoWin32bit]]; the various versions of Fretted Synth <a href=\"http://rekkerd.org/fretted-synth/\"><i>FreeAmp</i></a>[[$softwareLogoWin32bit]]; Aradaz <a href=\"http://aradaz.blogspot.de/p/download.html\"><i>Crunch, White &amp Green Amps</i></a>[[$softwareLogoWin32bit]]; AcmeBarGig\'s <a href=\"http://www.grebz.fr/simulator_freeamp_acmebargig_eng.php\">range of freeware plug-ins</a>[[$softwareLogoWin32bit]]; and SimulAnalog <a href=\"http://www.simulanalog.org/guitarsuite.htm\"><i>Guitar Suite</i></a>[[$softwareLogoWin32bit]]. Some good cross-platform options include Mda\'s unassuming little [[$software_Mda_Combo]]; Voxengo\'s freeware [[$software_Voxengo_TubeAmp]] and [[$software_Voxengo_Boogex]]; Melda\'s freeware <a href=\"http://www.meldaproduction.com/freevstplugins/mwaveshaper.php\"><i>MWaveShaper</i></a>[[$softwareLogoMac]][[$softwareLogoWin]]; Stillwell Audio\'s affordable [[$software_StillwellAudio_BadBussMojo]]; and ToneBoosters\'s affordable [[$software_ToneBoosters_TBFerox]] (an updated version of Jeroen Breebaart\'s renowned freeware Ferox tape emulation).<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Affordable Exciter Plug-ins:</strong> The best freeware I\'ve found so far for emulating the high-frequency enhancement effects of the Aphex Aural Exciter are Greenoak\'s freeware <a href=\"http://www.greenoak.com/vst.html\"><i>Excitifier</i></a>[[$softwareLogoMac32bit]] and the two Exciter algorithms in Cockos\'s freeware [[$software_Cockos_ReaJS]]. However, Elogoxa\'s freeware <a href=\"http://www.uv.es/ruizcan/p_vst.htm\"><i>X-Cita</i></a>[[$softwareLogoWin32bit]] is also good, especially for smoother-sounding settings.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Affordable High-speed Modulation Plug-ins:</strong> Any modulation plug-in with a higher-than-20Hz modulation rate will generate additional harmonics, but my top tips here are U-he\'s affordable [[$software_U-he_Uhbik]] series and Melda\'s freeware <a href=\"http://www.meldaproduction.com/freevstplugins/mfreqshifter.php\"><i>MFreqShifter</i></a>[[$softwareLogoMac]][[$softwareLogoWin]] and <a href=\"http://www.meldaproduction.com/freevstplugins/mringmodulator.php\"><i>MRingModulator</i></a>[[$softwareLogoMac]][[$softwareLogoWin]], which should give you more options than you\'ll ever need.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Affordable Pitch-shifting Plug-ins:</strong>: One of the best freeware options I\'ve found for achieving tonal tweaks is Bitterspring\'s freeware <a href=\"http://bitterspring.net/pitchshifter/\"><i>4 Band Shifter</i></a>[[$softwareLogoWin32bit]]. Most DAW platforms now have general-purpose shifting built in, but if not then consider trying out the low-cost Cockos [[$software_Cockos_Reaper]] DAW, which includes the <a href=\"http://wiki.cockos.com/wiki/index.php/ReaPitch\"><i>ReaPitch</i></a> plug-in as standard.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Affordable Subharmonic Synthesis Plug-ins:</strong> I\'ve yet to find a really great subharmonic synthesizer plug-in as freeware, although Mda [[$software_Mda_SubSynth]] and the 50HzKicker algorithm in the Cockos freeware [[$software_Cockos_ReaJS]] plug-in have both proved useful on occasion. Waves <a href=\"http://www.waves.com/content.aspx?id=9939\"><i>Lo Air</i></a>[[$softwareLogoMac]][[$softwareLogoWin]] is better, and pretty affordable, but personally I still prefer in general to double bass parts with a dedicated MIDI subsynth patch wherever I can.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Affordable Drum Triggering:</strong> For simple triggering applications, the Cockos freeware [[$software_Cockos_ReaGate]] will do fine, while Koen Tanghe\'s more complicated freeware <a href=\"http://koen.smartelectronix.com/KTDrumTrigger/\"><i>KTDrumTrigger</i></a>[[$softwareLogoMac]][[$softwareLogoWin32bit]] allows more performance nuance to pass into the MIDI data. If these don\'t do the trick, then you\'ll probably want to invest in some commercial software: Slate Digital <a href=\"http://www.slatedigital.com/trigger.php\"><i>Trigger</i></a>[[$softwareLogoMac]][[$softwareLogoWin]], SPL <a href=\"http://www.spl.info/index.php?id=1120&L=\"><i>DrumXchanger</i></a>[[$softwareLogoMac]][[$softwareLogoWin]], and Wavemachine Labs <a href=\"http://www.drumagog.com/\"><i>Drumagog</i></a>[[$softwareLogoMac]][[$softwareLogoWin]] are all well-respected and include a selection of built-in samples. If you\'re looking for free samples, there are lots available from the <a href=\"http://www.freesound.org\">Freesound Project</a>. For commercial drum samples, check out the <a href=\"http://www.timespace.com\">Time+Space</a> and <a href=\"http://www.soundsonline.com\">Sounds Online</a> sites in the first instance.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Nine Volt Audio & In Session Audio REX Loops:</strong> If you\'re not an instrumentalist, but want access to adaptable keyboard, guitar, bass, and percussion samples while mixing, check out the libraries from <a href=\"http://www.ninevoltaudio.com\">Nine Volt Audio</a> and <a href=\"http://www.insessionaudio.com\">In Session Audio</a>. The great thing about these libraries is their flexibility of use. You can fit them into pretty much any key or tempo, and the sliced REX sample format can then easily be shuffled around and edited to tailor things further -- say if you\'re wanting to add guitar chords into a shuffle groove. However, the performances are also great, the sounds are good, and the developers have just gone the extra mile in terms of making the material really usable. I\'ve reviewed several of these libraries now, and I can\'t recommend them highly enough. (And, no, I\'m not an endorsee of either company. I\'m just grateful to them, because their products have made my life so much easier!)<br><br></li>\r\n\r\n\r\n\r\n<li><strong>On-line Session Musicians:</strong> If you need an overdub to supplement your arrangement, but don\'t have access to suitable instrumentalists or recording equipment/venues, then it\'s well worth checking out some of the on-line session musician services that are now available. Three of them were compared in this <a href=\"http://www.soundonsound.com/sos/jul09/articles/onlinesessions.htm\">article</a>, which includes audio examples of what each managed to achieve on the same demo song. I also used one of the most well-known services, <a href=\"http://studiopros.com\">StudioPros</a>, when supplementing the guitar parts in this <a href=\"http://www.soundonsound.com/sos/jul11/articles/mix-rescue-0711.htm\">Mix Rescue</a> article, which again includes a number of audio files.<br><br></li>\r\n\r\n\r\n\r\n</ul>\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"reading\">FURTHER READING</a></h3>\r\n\r\n\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Using Synth Pads:</strong> Learn more about the applications of synth pads <a href=\"http://www.soundonsound.com/sos/may10/articles/pads.htm\">here</a>. For a comprehensive overview of sound synthesis in general, check out Gordon Reid\'s gargantuan <i>Sound On Sound</i> \'<a href=\"http://www.soundonsound.com/sos/allsynthsecrets.htm\">Synth Secrets</a>\' article series.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Non-EQ Tonal Adjustments In Practice:</strong> These two Mix Rescues (<a href=\"http://www.soundonsound.com/sos/mar08/articles/mixrescue_0308.htm\">article 1</a>, <a href=\"http://www.soundonsound.com/sos/jul09/articles/mixrescue_0709.htm\">article 2</a>) provide real-world examples of a lot of different tonal techniques beyond EQ.<br><br></li>\r\n\r\n\r\n\r\n</ul>',1,6,21,1,1,1,1425366805,1,1437718553,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'ms-ch12.htm',0,0,1,NULL),(15,'document','text/html','MSFTSS_Ch13Resources','Chapter 13: Frequency-selective Dynamics','','ms-ch13','',1,0,0,23,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#audio\">AUDIO FILES</a> -- <a href=\"#links\">LINKS</a> -- <a href=\"#reading\">FURTHER READING</a></h5>\r\n\r\n\r\n<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/Ch13/MSFTSS_Ch13_WAVs.zip`]]\">136MB ZIP</a>)</span></h3>\r\n\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Equalising Parallel Dynamics Channels:</strong> As long as you\'re wary of phase-cancellation issues, you can create a wide range of frequency-selective dynamics effects simply by equalising parallel dynamics processors. Let\'s say that you want to add lower-midrange warmth and sustain to this acoustic guitar \r\n\r\n[[playerWavMp3Button? &exampleNumber=`13.01` &exampleFile=`Ch13/MS1301_AcGtr1NoParaComp_MR0811`]], for example. A normal parallel compression treatment [[playerWavMp3Button? &exampleNumber=`13.02` &exampleFile=`Ch13/MS1302_AcGtr1ParaComp_MR0811`]] can add the warmth/sustain attributes that you want, but has also in this case overemphasised high-frequency mechnical noises. Cutting high frequencies out of the compressor return channel focuses the compression effect more into the required frequency range [[playerWavMp3Button? &exampleNumber=`13.03` &exampleFile=`Ch13/MS1303_AcGtr1ParaCompHFCut_MR0811`]]. By way of contrast, here\'s an example of the opposite situation, where a piano part [[playerWavMp3Button? &exampleNumber=`13.04` &exampleFile=`Ch13/MS1304_PianoMain_MR0807`]] is lacking in high-frequency sustain -- a common problem for pop/rock mix applications. Adding in an HF-heavy parallel compression channel [[playerWavMp3Button? &exampleNumber=`13.05` &exampleFile=`Ch13/MS1305_PianoParaComp_MR0807`]] results in a timbre with more high-frequecy sustain [[playerWavMp3Button? &exampleNumber=`13.06` &exampleFile=`Ch13/MS1306_PianoMix_MR0807`]]. Another application of high-frequency parallel compression is adding brightness without overemphasising sibilance. Take this vocal [[playerWavMp3Button? &exampleNumber=`13.07` &exampleFile=`Ch13/MS1307_Vox3Main_MR0807`]], for example, which is already sibilant enough. If you add in an HF-only parallel channel like this [[playerWavMp3Button? &exampleNumber=`13.08` &exampleFile=`Ch13/MS1308_Vox3ParaComp_MR0807`]], it brightens things up without letting the \'s\' and \'t\' sounds sand-blast your ear canals [[playerWavMp3Button? &exampleNumber=`13.09` &exampleFile=`Ch13/MS1309_Vox3Mix_MR0807`]]. Of course, compression isn\'t the only dynamics process which can be used in a parallel configuration -- gating has its uses too. For example, this kick drum [[playerWavMp3Button? &exampleNumber=`13.44` &exampleFile=`Ch13/MS1344_Kick3Main_MR0807`]] is given controlled presence and weight by mixing in this parallel gate channel [[playerWavMp3Button? &exampleNumber=`13.45` &exampleFile=`Ch13/MS1345_Kick3ParaGate_MR0807`]]. Here\'s the final mixed tone [[playerWavMp3Button? &exampleNumber=`13.46` &exampleFile=`Ch13/MS1346_Kick3Mix_MR0807`]], complete with a little of that mix\'s short blend reverb.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Side-chain EQ For Full-band Dynamics Processors:</strong> The most common applications for this are in gating. For example, here\'s a snare-drum close-mic recording which captured a lot of spill [[playerWavMp3Button? &exampleNumber=`13.12` &exampleFile=`Ch13/MS1312_Snare1NoGate`]]. Spill can often work in your favour when mixing drums, but assuming for the sake of argument that you wanted to use a simple gate processor to remove it, you\'d quickly encounter difficulties getting the gate to trigger correctly. When the threshold is set low enough to let through all the wanted snare hits, the kick and hi-hat spill elements also trigger the gate to open sporadically, as in this example [[playerWavMp3Button? &exampleNumber=`13.13` &exampleFile=`Ch13/MS1313_Snare1Gate`]] -- I\'ve kept the attack and release times fairly fast so that you can easily hear the triggering action. This is where filtering the gate\'s side-chain can help out: high-pass filtering at 670Hz stops the kick interfering with the gating [[playerWavMp3Button? &exampleNumber=`13.14` &exampleFile=`Ch13/MS1314_Snare1GateHPF`]], while a low-pass filter at 4.8kHz protects against the hi-hat [[playerWavMp3Button? &exampleNumber=`13.15` &exampleFile=`Ch13/MS1315_Snare1GateHPFLPF`]]. It\'s important to realise, however, that none of this filtering has any effect on the tone of the audio signal passing through the gate, because the filters only affect what the gate\'s detector circuit is hearing. Equalising the side-chain signal of a compressor can also be useful for adjusting its sensitivity to certain frequencies. One of the most common scenarios for this is when de-essing. For instance, here\'s a sibilant vocal which requires de-essing [[playerWavMp3Button? &exampleNumber=`13.16` &exampleFile=`Ch13/MS1316_Vox6NoDeess_MR0908`]], and here\'s what it sounds like after it\'s been processed with such a de-essing compression setup [[playerWavMp3Button? &exampleNumber=`13.17` &exampleFile=`Ch13/MS1317_Vox6Deess_MR0908`]] -- full details of the settings can be found in this <a href=\"http://www.soundonsound.com/sos/aug09/articles/mixrescue_0809.htm\">Mix Rescue</a>.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Some Hiss-reduction Strategies:</strong> While full-band expansion/gating can deal with noise in the gaps between notes, it\'s powerless to handle hiss overlaid on the wanted audio, as in this example [[playerWavMp3Button? &exampleNumber=`13.47` &exampleFile=`Ch13/MS1347_GuitarHiss01_Raw`]]. Fast low-ratio, low-threshold expansion of the high-frequency band can usually achieve around 6dB of hiss reduction without too many undesirable pumping artefacts [[playerWavMp3Button? &exampleNumber=`13.48` &exampleFile=`Ch13/MS1348_GuitarHiss02_HFExpander`]], but you\'ll need a dedicated spectral expander to take things any further, as in this example [[playerWavMp3Button? &exampleNumber=`13.49` &exampleFile=`Ch13/MS1349_GuitarHiss03_Redunoise`]], which was processed with Voxengo\'s <a href=\"http://www.voxengo.com/product/redunoise/\"><i>Redunoise</i></a>[[$softwareLogoWin]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Multi-band Compression At Mixdown:</strong> Multi-band compression can help balance different frequency regions of a single sound, and is a surprisingly common requirement for small-studio mixes, especially where the monitoring system\'s low-frequency response is unreliable. In this <a href=\"http://www.soundonsound.com/sos/jul10/articles/mixrescue_0710.htm\">Mix Rescue</a>, for instance, the supplied synth part [[playerWavMp3Button? &exampleNumber=`13.18` &exampleFile=`Ch13/MS1318_Bass4NoMulti_MR1007`]] was rather uncontrolled in the sub-150Hz region, and it was only by compressing this section of the spectrum separately with multi-band processing that I was able to confidently increase the power at the low end without headroom difficulties [[playerWavMp3Button? &exampleNumber=`13.19` &exampleFile=`Ch13/MS1319_Bass4Multi_MR1007`]]. Acoustic guitar parts are also a frequent target for multi-band compression, as a means of controlling high-frequency pick noise. Here\'s a slightly dodgy-sounding acoustic guitar part which could use a bit of that kind of attention [[playerWavMp3Button? &exampleNumber=`13.20` &exampleFile=`Ch13/MS1320_AcGtr4Raw`]]. Although you can knock off some of the excess picking with simple fast compression [[playerWavMp3Button? &exampleNumber=`13.21` &exampleFile=`Ch13/MS1321_AcGtr4Comp`]], you can improve things even further by aiming this remedy just at high frequencies using a multi-band compressor [[playerWavMp3Button? &exampleNumber=`13.22` &exampleFile=`Ch13/MS1322_AcGtr4MultiComp`]]. A similar troubleshooting scheme can also work against overprominent stick noise in drum recordings. These overhead mics [[playerWavMp3Button? &exampleNumber=`13.23` &exampleFile=`Ch13/MS1323_OverheadsNoMulti_MR1007`]], for example, have occasional spiky stick noises on the ride cymbals, exacerbated by the heavy compression which has been deliberately applied for artistic effect. Fast, hard compression at the top end smooths off these unwanted corners [[playerWavMp3Button? &exampleNumber=`13.24` &exampleFile=`Ch13/MS1324_OverheadsMulti_MR1007`]].<br><br></li>\r\n\r\n\r\n\r\n\r\n\r\n<li><strong>Multi-band Transient Processing At Mixdown:</strong> Multi-band transient processing can also deal with guitar pick noise very effectively, as in this example [[playerWavMp3Button? &examplePrefix=`before transient processing ` &exampleNumber=`13.25` &exampleFile=`Ch13/MS1325_AcGtr3NoTransX_MR0904` &examplePrefix2=`after transient processing ` &exampleNumber2=`13.26` &exampleFile2=`Ch13/MS1326_AcGtr3TransX_MR0904`]]. However, the thing I find this kind of processing most useful for is adding low-frequency punch to kick-drum sounds, as in the following examples, the first using Voxengo\'s <i>TransModder</i>: [[playerWavMp3Button? &examplePrefix=`before ` &exampleNumber=`13.27` &exampleFile=`Ch13/MS1327_Kick1NoTransMod_MR1008` &examplePrefix2=`after ` &exampleNumber2=`13.28` &exampleFile2=`Ch13/MS1328_Kick1TransMod_MR1008`]] and the second using Waves <i>TransX Multi</i> [[playerWavMp3Button? &examplePrefix=`before ` &exampleNumber=`13.29` &exampleFile=`Ch13/MS1329_Kick1NoTransX_MR0902` &examplePrefix2=`after ` &exampleNumber2=`13.30` &exampleFile2=`Ch13/MS1330_Kick2TransX_MR0902`]]. In both cases you get a lot of extra low-end power, but without any messy low-end rumbling.<br><br></li>\r\n\r\n<li><strong>Dynamic EQ At Mixdown:</strong> Like multi-band dynamics processing, dynamic EQ has the ability to deal with balance problems between different frequency ranges of the same recording. So, for example, in this drum submix from a live gig [[playerWavMp3Button? &exampleNumber=`13.31` &exampleFile=`Ch13/MS1331_Drums1NoDynEQ_MR0806`]] the hi-hat was coming through rather too strongly on the snare mic, but gating turned out to be too intrusive a processing approach because the snare mic\'s spill contribution was important to the sound of the kit as a whole. Expanding the high-frequencies with a dynamic high shelving filter proved to be a more successful approach [[playerWavMp3Button? &exampleNumber=`13.32` &exampleFile=`Ch13/MS1332_Drums1DynEQ_MR0806`]]. Where dynamic EQ really comes into its own, though, is where the dynamics of very narrow regions of the spectrum need modification, as in this bass recording [[playerWavMp3Button? &exampleNumber=`13.33` &exampleFile=`Ch13/MS1333_Bass1NoDynEQ_MR1005`]], where the notes are rendered very uneven-sounding because of the wayward dynamics of the note fundamentals. Compressing the worst offenders with a couple of extremely narrow dynamic EQ bands was just about the only way to smooth things out [[playerWavMp3Button? &exampleNumber=`13.34` &exampleFile=`Ch13/MS1334_Bass1DynEQ_MR1005`]] -- check out this <a href=\"http://www.soundonsound.com/sos/may10/articles/mixrescue_0510.htm\">Mix Rescue</a> for full details of this particularly thorny processing problem. The most common application of narrow-band dynamics treatments like this, though, is in dealing with vocal harshness, and here are a couple of different examples of this kind of processing in action. The first is from this <a href=\"http://www.soundonsound.com/sos/jan08/articles/mixrescue_0108.htm\">Mix Rescue</a>, featuring a female singer: without dynamic EQ [[playerWavMp3Button? &exampleNumber=`13.35` &exampleFile=`Ch13/MS1335_Vox1NoDynEQ_MR0801`]]; with dynamic EQ [[playerWavMp3Button? &exampleNumber=`13.36` &exampleFile=`Ch13/MS1336_Vox1DynEQ_MR0801`]]. The second example comes from this <a href=\"http://www.soundonsound.com/sos/dec09/articles/mixrescue_1209.htm\">Mix Rescue</a>, featuring a male singer: without dynamic EQ [[playerWavMp3Button? &exampleNumber=`13.37` &exampleFile=`Ch13/MS1337_Vox2NoDynEQ_MR0912`]]; with dynamic EQ [[playerWavMp3Button? &exampleNumber=`13.38` &exampleFile=`Ch13/MS1338_Vox2DynEQ_MR0912`]]. In both cases, notice how its only on certain more strained notes that the harshness becomes a problem, so it\'s not something that can be dealt with just using normal static EQ.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>De-essing At Mixdown:</strong> Using a de-esser on vocals shouldn\'t really be rocket science. If you\'ve got a vocal with too much sibilance [[playerWavMp3Button? &exampleNumber=`13.39` &exampleFile=`Ch13/MS1339_Vox5NoDeess_MR0811`]], then use EQ (or the de-esser\'s built-in \'listen\' mode) to find the most shrill frequency, and then dial in just enough gain reduction to tame the problem [[playerWavMp3Button? &exampleNumber=`13.40` &exampleFile=`Ch13/MS1340_Vox5Deess_MR0811`]]. The main thing to beware of is over-doing the gain-reduction, as this can suck the life out of the vocal and may even make the singer sound like they\'re lisping [[playerWavMp3Button? &exampleNumber=`13.41` &exampleFile=`Ch13/MS1341_Vox5DeessLisp_MR0811`]]. Bear in mind, though, that the simple dynamic EQ circuit at the heart of many de-essers can sometimes be useful on other instruments than vocals. The pick noise on this acoustic guitar recording [[playerWavMp3Button? &exampleNumber=`13.42` &exampleFile=`Ch13/MS1342_AcGtr2Raw_MR0702`]], for example, was tackled with a de-esser in the absence of more powerful tools, helping to bring about this final remixed sound [[playerWavMp3Button? &exampleNumber=`13.43` &exampleFile=`Ch13/MS1343_AcGtr2DeEssHPF_MR0702`]].<br><br></li>\r\n\r\n</ul>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"links\">LINKS</a></h3>\r\n\r\n<ul>\r\n\r\n[[$MSRecommendedLogo]]<br><br>\r\n\r\n<li><strong>Affordable Dynamics Plug-ins With Built-in Side-Chain EQ:</strong> There are a lot of plug-ins now that have side-chain filtering built in: Cockos\'s freeware [[$software_Cockos_ReaGate]] and [[$software_Cockos_ReaComp]]; DDMF\'s affordable [[$software_DDMF_NYCompressor]]; Stillwell Audio\'s affordable [[$software_StillwellAudio_TheRocket]]; Variety Of Sound\'s freeware <a href=\"[[$URL_VarietyOfSound_VSTs]]\"><i>Density</i></a>[[$softwareLogoWin32bit]] and <a href=\"[[$URL_VarietyOfSound_VSTs]]\"><i>NastyVCS</i></a>[[$softwareLogoWin32bit]]; Melda\'s freeware [[$software_Melda_MCompressor]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Affordable Multi-band Compression/Expansion Plug-ins:</strong> There are now plenty of dedicated multi-band dynamics plug-ins available. As far as freeware is concerned, I\'d recommend Cockos [[$software_Cockos_ReaXcomp]], or for more flexibility have a look at Melda\'s reasonably priced <a href=\"http://www.meldaproduction.com/mmultibanddynamics\"><i>MMultiBandDynamics</i></a>[[$softwareLogoMac]][[$softwareLogoWin]], which is a bit of a monster!<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Affordable Multi-band Transient Processor Plug-ins:</strong> I\'ve not found anything freeware here, but there are a few fairly affordable options available, such as Melda <a href=\"http://www.meldaproduction.com/mmultibandtransient\"><i>MMultiBandTransient</i></a>[[$softwareLogoMac]][[$softwareLogoWin]], Voxengo <a href=\"http://www.voxengo.com/product/tmodder/\"><i>TransModder</i></a>[[$softwareLogoMac]][[$softwareLogoWin]] and Waves <a href=\"http://www.waves.com/Content.aspx?id=286\"><i>TransX Multi</i></a>[[$softwareLogoMac]][[$softwareLogoWin]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>DIY Multi-band Processing:</strong> If you\'re working on a budget, or simply find that available \'one-stop\' multi-band processors won\'t do what you need them to, then you can always implement your own multi-band processing setup using crossovers and multiple full-band processor plug-ins. This is easy to do in Cockos [[$software_Cockos_Reaper]], for example, using the 3/4/5BandSplitter and 3/4/5BandJoiner algorithms in the ReaJS plug-in in conjunction with Reaper\'s multi-channel routing capabilities, as explained in this <a href=\"http://www.soundonsound.com/sos/aug10/articles/reaper-notes-0810.htm\">article</a>. If your own DAW doesn\'t have the same flexibility and crossover functions, you could try implementing the same kind of scheme using Cockos\'s freeware [[$software_Cockos_ReaJS]] or Robin Schmidt\'s freeware <a href=\"http://www.rs-met.com/freebies.html\"><i>CrossOver</i></a>[[$softwareLogoWin32bit]] in conjunction with a separate effects-matrixing plug-in such as DDMF\'s affordable [[$software_DDMF_Metaplugin]] or Plogue\'s affordable <a href=\"http://www.plogue.com/?page_id=56\"><i>Bidule</i></a>[[$softwareLogoMac]][[$softwareLogoWin]]. Whichever way you implement it, though, do be wary of the possibility of phase mismatch between the bands if plug-ins with different processing latencies are used.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Affordable Multi-band Dynamic Noise Reduction Plug-ins:</strong> The only freeware multi-band noise-reduction processor I know if is Cockos [[$software_Cockos_ReaFIR]] (using its Subtract and Gate modes). If you need something more flexible for broadband noise, try Voxengo\'s affordable <a href=\"http://www.voxengo.com/product/redunoise/\"><i>Redunoise</i></a>[[$softwareLogoWin32bit]]. If clicks and crackles are also a problem, then the more expensive (but still very reasonably-priced) Izotope <a href=\"http://www.izotope.com/products/audio/rx/\"><i>RX</i></a>[[$softwareLogoMac]][[$softwareLogoWin]] allows much more user control over the specifics of the processing.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Affordable Dynamic Equaliser Plug-ins:</strong> A couple of freeware options are Platinumears [[$software_Platinumears_IQ4]] and Tokyo Dawn\'s [[$software_TokyoDawn_TDRNova]]. If you\'re willing to spend a little money, check out ToneBoosters ridiculously affordable [[$software_ToneBoosters_TBFix]], Voxengo [[$software_Voxengo_GlissEQ]], Melda <a href=\"http://www.meldaproduction.com/mspectraldynamics\"><i>MSpectralDynamics</i></a>[[$softwareLogoMac]][[$softwareLogoWin]], and (if only because Dave Pensado\'s a fan!) Waves <a href=\"http://www.waves.com/Content.aspx?id=237\"><i>C1</i></a>[[$softwareLogoMac]][[$softwareLogoWin]]. Not all of these are strictly speaking dynamic equalisers, but the distinctions get a bit blurred with such flexible designs!<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Affordable Dedicated De-esser Plug-ins:</strong> While you can achieve de-essing in many different ways with other processors, here are a couple of budget-friendly one-stop plug-ins if you need them: Digital Fishphones\'s freeware [[$software_DigitalFishphones_Spitfish]] (but beware that it won\'t report its processing latency correctly to your DAW so it\'s less suitable for parallel-processing applications), Sleepy-Time DSP\'s freeware <a href=\"http://sleepytimedsp.com/downloads\"><i>Lisp</i></a>[[$softwareLogoWin]], and Tone Boosters\'s extremely affordable [[$software_ToneBoosters_TBDeEsser]] and [[$software_ToneBoosters_TBSibalance]].<br><br></li>\r\n\r\n\r\n\r\n</ul>\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"reading\">FURTHER READING</a></h3>\r\n\r\n\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Frequency-selective Dynamics In Practice:</strong> I use a lot of frequency-selective dynamics processing for salvage purposes in Mix Rescue, but here are some specific examples that are particularly worth looking over. In this <a href=\"http://www.soundonsound.com/sos/jul08/articles/mixrescue_0708.htm\">article</a> I demonstrated a number of different frequency-selective processing strategies based around equalised parallel dynamics channels. In this <a href=\"http://www.soundonsound.com/sos/oct09/articles/mixrescue_1009.htm\">article</a> I delved into the practicalities of DIY multi-band processing for a number of the sounds. And this <a href=\"http://www.soundonsound.com/sos/jun10/articles/mixrescue_0610.htm\">article</a> deals with some in-depth specifics of mastering-style full-mix processing using high-spec multi-band processing.<br><br></li>\r\n\r\n<li><strong>More Information On De-essing:</strong> Here\'s a whole <a href=\"http://www.soundonsound.com/sos/may09/articles/deessing.htm\">article</a> dedicated to the subject of de-essing in its many forms. It includes this downloadable Cockos [[$software_Cockos_Reaper]] project file <small>(<a href=\"http://www.soundonsound.com/sos/may09/audio/deessing/De-essingProjectSOS.zip\">2MB ZIP</a>)</small> which demonstrates the mechanics of six different methods of de-essing.<br><br></li>\r\n\r\n<li><strong>Source-separation Software Options:</strong> Where the mix problems with a recording file prove insurmountable with traditional mix processing, then specialist restoration and sound-extraction software may be the answer. For a good overview of the options and possibilities here, check out Christopher Kissel\'s <a href=\"http://www.monotostereo.info\">monotoSTEREO.info</a> web site. Although the site is officially concerned with upmixing mono mixes to stereo, the technology involved has many mix-salvage rebalancing applications.<br><br></li>\r\n\r\n</ul>',1,6,22,1,1,1,1425371451,1,1459840162,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'ms-ch13.htm',0,0,1,NULL),(435,'document','text/html','RSFTSS_LMP_AcPno02','The \'<a href=\"[[~370]]\">Recording Secrets</a>\' Library Of Microphone Positions:<br>Acoustic Upright Piano','','rs-lmp-acpno02','',1,0,0,368,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n\r\n<p>The following audio examples were recorded with pianist <a href=\"[[$URL_JonWhitten]]\">Jon Whitten</a> using the Yamaha upright piano in the Colin Hill Recital Room at Cambridge\'s <a href=\"[[$URL_HRSFC]]\">Hills Road Sixth Form College</a>. The microphones used were <a href=\"http://www.rodemic.com\">Rode</a> NT55 small-diaphragm condenser mics, kindly loaned by UK distributor <a href=\"http://www.sourcedistribution.co.uk\">Source Distribution</a>, which were preamplified via the mic preamps of a Tascam DM3200 digital mixer and recorded digitally without any signal processing. Many thanks to the college\'s Director of Music, Jonathan Sanders, for the use of the recital room and its adjoining control room, and also to <a href=\"[[$URL_DanJeffries]]\">Dan Jeffries</a> and <a href=\"[[$URL_TomAdams]]\">Tom Adams</a> for their assistance with the sessions.</p>\r\n\r\n[[+shuffledBanner0]][[+shuffledBanner1]][[+shuffledBanner2]]\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\">\r\n\r\n<a href=\"#Setup1Diagram\">MULTIMIC SETUP 1 (PANELS ON)</a> -- \r\n\r\n<a href=\"#Setup2Diagram\">MULTIMIC SETUP 2 (PANELS OFF)</a><br>\r\n\r\n<a href=\"#reading\">FURTHER READING</a><br>\r\n\r\n</h5>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Setup1Diagram\">MULTIMIC SETUP 1</a></h3>\r\n\r\n\r\n\r\n<p>This microphone setup used three stereo pairs of Rode NT55 microphones: one pair in a coincident crossed-pair configuration using cardioid capsules; and the other two pairs in spaced-pair configurations using omnidirectional capsules. The piano was recorded by all mics simultaneously.</p>\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong>Panels On:</strong> Without removing any of the instrument\'s panels, its lid was opened and the mics were placed in horizontal line inside the piano above the hammers, as shown in the diagram. In addition, we also recorded two additional passes with the mics raised 20cm and 100cm above the instrument respectively to showcase the effects of increasing the miking distance.</li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcPno02aHiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/LMP_AcPno02a.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcGPno02aHiRes.jpg\">here</a>.)<br><br></p>\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesMicLetterHeader\" rowspan=\"2\">Mic</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\" colspan=\"3\" >Distance</td>\r\n    <td class=\"tdLMPFilesDescriptionHeader\" rowspan=\"2\">Polar<br>Pattern</td>\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\" rowspan=\"2\">Position/Angle</td>\r\n  </tr>\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Inside</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">20cm</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">100cm</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterBlue\">A</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano02_1A_PanelsOnInside_CardioidXY120`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano02_1A_PanelsOn20cm_CardioidXY120`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano02_1A_PanelsOn100cm_CardioidXY120`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Cardioid</td>\r\n <td class=\"tdLMPFilesDescription\">XY stereo pair (mutual angle 120 degrees) angled downward, a little to the bass-register side of the centre of the instrument</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterPink\">B</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano02_1B_PanelsOnInside_SpacedOmnis50cm`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano02_1B_PanelsOn20cm_SpacedOmnis50cm`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano02_1B_PanelsOn100cm_SpacedOmnis50cm`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Omni</td>\r\n <td class=\"tdLMPFilesDescription\">Spaced stereo pair (spacing 50cm) angled downward and roughly centred on the instrument</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterGreen\">C</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano02_1C_PanelsOnInside_SpacedOmnis100cm`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano02_1C_PanelsOn20cm_SpacedOmnis100cm`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano02_1C_PanelsOn100cm_SpacedOmnis100cm`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Omni</td>\r\n <td class=\"tdLMPFilesDescription\">Spaced stereo pair (spacing 100cm) angled downward and roughly centred on the instrument</td>\r\n  </tr>\r\n\r\n</table>\r\n\r\n<br><br>\r\n\r\n\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Setup2Diagram\">MULTIMIC SETUP 2</a></h3>\r\n\r\n\r\n\r\n<p>This microphone setup used three spaced stereo pairs of Rode NT55 microphones, all with their omnidirectional capsules fitted. The piano was recorded by all mics simultaneously.</p>\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong>Panels Off:</strong> Both the over-keyboard and under-keyboard front panels of the instrument were removed for these audio files. Three separate recording passes were recorded, to showcase the effects of increasing the miking distance: 20cm, 50cm (as shown in the diagram), and 100cm.\r\n\r\n</li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcPno02bHiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/LMP_AcPno02b.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcGPno02bHiRes.jpg\">here</a>.)<br><br></p>\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesMicLetterHeader\" rowspan=\"2\">Mic</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\" colspan=\"3\" >Distance</td>\r\n    <td class=\"tdLMPFilesDescriptionHeader\" rowspan=\"2\">Polar<br>Pattern</td>\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\" rowspan=\"2\">Position/Angle</td>\r\n  </tr>\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesHeaderCompact\">20cm</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">50cm</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">100cm</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterBlue\">A</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano02_2A_PanelsOff20cm_SpacedOmnis80cmUpper`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano02_2A_PanelsOff50cm_SpacedOmnis80cmUpper`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano02_2A_PanelsOff100cm_SpacedOmnis80cmUpper`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Omni</td>\r\n <td class=\"tdLMPFilesDescription\">Spaced stereo pair (spacing 80cm) with the mics placed either side of the pianist\'s head, angled horizontally towards the over-keyboard strings</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterPink\">B</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano02_2B_PanelsOff20cm_SpacedOmnis80cmLower`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano02_2B_PanelsOff50cm_SpacedOmnis80cmLower`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano02_2B_PanelsOff100cm_SpacedOmnis80cmLower`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Omni</td>\r\n <td class=\"tdLMPFilesDescription\">Spaced stereo pair (spacing 80cm) with the mics placed either side of the piano stool, angled horizontally towards the under-keyboard strings</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterGreen\">C</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano02_2C_PanelsOff20cm_SpacedOmnis80cmSoundboard`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano02_2C_PanelsOff50cm_SpacedOmnis80cmSoundboard`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano02_2C_PanelsOff100cm_SpacedOmnis80cmSoundboard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Omni</td>\r\n <td class=\"tdLMPFilesDescription\">Spaced stereo pair (spacing 80cm) with the mics placed at the back of the piano, angled horizontally towards the soundboard</td>\r\n  </tr>\r\n\r\n</table>\r\n\r\n<br><br>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"reading\">FURTHER READING</a></h3>\r\n\r\n<ul>\r\n\r\n<li>To read (and hear) more about recording upright piano, check out this <a href=\"http://www.soundonsound.com/sos/apr09/articles/uprightpianos.htm\"><i>Sound On Sound</i> magazine article</a>, to which the above audio examples directly relate.<br><br></li>\r\n\r\n</ul>',1,6,3,1,1,1,1436773305,1,1465191469,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'rs-lmp-acpno02.htm',0,0,1,NULL),(16,'document','text/html','MSFTSS_Ch14Resources','Chapter 14: The Power Of Side-chains','','ms-ch14','',1,0,0,23,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#audio\">AUDIO FILES</a> -- <a href=\"#links\">LINKS</a> -- <a href=\"#reading\">FURTHER READING</a></h5>\r\n\r\n\r\n<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/Ch14/MSFTSS_Ch14_WAVs.zip`]]\">44MB ZIP</a>)</span></h3>\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Side-chain Triggered Ducking:</strong> A common application of ducking can be heard in this example [[playerWavMp3Button? &exampleNumber=`14.01` &exampleFile=`Ch14/MS1401_KickBassNoDucker_MR0809`]], where the low frequencies of the kick-drum and bass-guitar parts are competing for space in the mix. Ducking the bass part makes the low end better controlled [[playerWavMp3Button? &exampleNumber=`14.02` &exampleFile=`Ch14/MS1402_KickBassDucker_MR0809`]]. Ducking can also be used wherever there is an important part which wants to cut through other less important mix elements. In this <a href=\"http://www.soundonsound.com/sos/may09/articles/mixrescue_0509.htm\">Mix Rescue</a>, for example, I ducked a number of background parts in response to the kick drum, so that it would remain clear and audible throughout [[playerWavMp3Button? &examplePrefix=`without ducking ` &exampleNumber=`14.03` &exampleFile=`Ch14/MS1403_Mix1NoKickDucker_MR0905` &examplePrefix2=`with ducking ` &exampleNumber2=`14.04` &exampleFile2=`Ch14/MS1404_Mix1KickDucker_MR0905`]]. Kick-triggerered ducking is also commonly used in dance styles to create mix-pumping effects, as in the following simple example: in this file the kick-drum and synth levels don\'t interact [[playerWavMp3Button? &exampleNumber=`14.05` &exampleFile=`Ch14/MS1405_KickSynthNoDucking_MR0902`]], while here the kick-drum is feeding a ducker\'s side-chain to create level-pumping on the synths [[playerWavMp3Button? &exampleNumber=`14.06` &exampleFile=`Ch14/MS1406_KickSynthDucking_MR0902`]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Side-chain Triggered Gating:</strong> The thing I use side-chain triggered gating for most often is to rebalance drum recordings. For example, here\'s an example of a drum overheads track where the cymbals are overpowering the snare-drum sound [[playerWavMp3Button? &exampleNumber=`14.16` &exampleFile=`Ch14/MS1416_OverheadsNoGate_MR1106`]]-- not an uncommon occurrence in home-studio recordings, where people have a habit of putting the overhead mics right on top of the cymbals! Using the snare close mic to key a gate on the overheads, you can significantly increase the snare level in the overheads balance [[playerWavMp3Button? &exampleNumber=`14.17` &exampleFile=`Ch14/MS1417_OverheadsGate_MR1106`]], which usually improves the overall snare tone. Another useful application of side-chain triggered gating is in matching the rhythmic feel of one track more closedly to that of another. Here, for example, is a rather bland sampled shaker part [[playerWavMp3Button? &exampleNumber=`14.07` &exampleFile=`Ch14/MS1407_ShakerNoGate_MR0903`]] which I added during this <a href=\"http://www.soundonsound.com/sos/mar09/articles/mixrescue_0309.htm\">Mix Rescue</a> project. In order to retain some of the rhythmic feel of the original shaker part [[playerWavMp3Button? &exampleNumber=`14.08` &exampleFile=`Ch14/MS1408_ShakerKey_MR0903`]], I triggered a gate on the sample channels from the original shaker part, to give this much more musical feel [[playerWavMp3Button? &exampleNumber=`14.09` &exampleFile=`Ch14/MS1409_ShakerGate_MR0903`]]. Here\'s a similar example, where pedestrian rhythm guitar parts [[playerWavMp3Button? &exampleNumber=`14.10` &exampleFile=`Ch14/MS1410_KickGtrsNoSCDyn_MR0902`]] are given a little more rhythmic lilt by virtue of limited-range gating triggered from the kick drum [[playerWavMp3Button? &exampleNumber=`14.11` &exampleFile=`Ch14/MS1411_KickGtrsSCDyn_MR0902`]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Some Advanced Examples:</strong> The following two Mix Rescue case studies explain the rationale behind some particularly involved side-chain-triggered processing. In this <a href=\"http://www.soundonsound.com/sos/may09/articles/mixrescue_0509.htm\">article</a> I used the lead vocal level to trigger a compressor on the hi-hat parts in a move to combat subjective sibilance levels [[playerWavMp3Button? &examplePrefix=`before processing ` &exampleNumber=`14.12` &exampleFile=`Ch14/MS1412_Mix1NoDeess_MR0905` &examplePrefix2=`after processing ` &exampleNumber2=`14.13` &exampleFile2=`Ch14/MS1413_Mix1Deess_MR0905`]]. In this <a href=\"http://www.soundonsound.com/sos/may10/articles/mixrescue_0510.htm\">article</a> I demonstrated how an equalised and polarity-inverted parallel gate channel could be used to clear space for the lead vocal within a crowded arrangement [[playerWavMp3Button? &examplePrefix=`before processing ` &exampleNumber=`14.14` &exampleFile=`Ch14/MS1414_Mix2InvGateOut_MR1005` &examplePrefix2=`after processing ` &exampleNumber2=`14.15` &exampleFile2=`Ch14/MS1415_Mix2InvGateIn_MR1005`]]. Note that the cancellation effect in this example is under the control of mixer automation, so it\'s very mild to start with and only gets stronger as the backing track\'s texture thickens.<br><br></li>\r\n\r\n\r\n\r\n</ul>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"links\">LINKS</a></h3>\r\n\r\n<ul>\r\n\r\n[[$MSRecommendedLogo]]<br><br>\r\n\r\n<li><strong>Affordable Plug-ins With External Side-chain Access:</strong> A lot of dynamics processors now offer direct access to their control side-chains, but here are some affordable suggestions: Cockos\'s freeware [[$software_Cockos_ReaGate]] and [[$software_Cockos_ReaComp]]; DDMF\'s affordable [[$software_DDMF_NYCompressor]]; Stillwell Audio\'s affordable [[$software_StillwellAudio_TheRocket]]; Variety Of Sound\'s freeware <a href=\"[[$URL_VarietyOfSound_VSTs]]\"><i>Density</i></a>[[$softwareLogoWin32bit]], <a href=\"[[$URL_VarietyOfSound_VSTs]]\"><i>ThrillseekerLA</i></a>[[$softwareLogoWin32bit]], and <a href=\"[[$URL_VarietyOfSound_VSTs]]\"><i>NastyVCS</i></a>[[$softwareLogoWin32bit]]. (If your DAW doesn\'t support plug-ins with external side-chains, then <a href=\"http://www.reaper.fm/\">get one that does</a>!)<br><br></li>\r\n\r\n\r\n\r\n</ul>\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"reading\">FURTHER READING</a></h3>\r\n\r\n\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Side-chain Triggering In Practice:</strong> I use side-chain triggering all the time in Mix Rescue, but here are a few of the remixes where side-chain dynamics had a larger role to play: <a href=\"http://www.soundonsound.com/sos/jul10/articles/mixrescue_0710.htm\">article 1</a>, <a href=\"http://www.soundonsound.com/sos/may10/articles/mixrescue_0510.htm\">article 2</a>, <a href=\"http://www.soundonsound.com/sos/may09/articles/mixrescue_0509.htm\">article 3</a>, <a href=\"http://www.soundonsound.com/sos/feb09/articles/mixrescue_0209.htm\">article 4</a>.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>More Information On Gating:</strong> There are more specific triggered gating tricks detailed <a href=\"http://www.soundonsound.com/sos/may01/articles/advancedgating.pt2.asp\">here</a>.<br><br></li>\r\n\r\n\r\n\r\n</ul>',1,6,23,1,1,1,1425378509,1,1437718830,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'ms-ch14.htm',0,0,1,NULL),(17,'document','text/html','MSFTSS_Ch15Resources','Chapter 15: Toward Fluent Balancing','','ms-ch15','',1,0,0,23,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#audio\">AUDIO FILES</a> -- <a href=\"#links\">LINKS</a></h5>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"audio\">AUDIO FILES</a> <span class=\"spanExampleFile\">(To download all WAV examples at once: <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/MSFTSS/Ch15/MSFTSS_Ch15_WAVs.zip`]]\">3MB ZIP</a>)</span></h3>\r\n\r\n<p class=\"pLibraryRedirect\"><strong><span class=\"spanLibraryRedirectHeader\"><a href=\"[[~373]]\">Click here to visit the \'Mixing Secrets\' Free Multitrack Download Library!</a></span></strong><br>\r\nIt was getting so big that I decided to move it to its own dedicated page.<br><br></p>\r\n\r\n<ul>\r\n\r\n<li><strong>Internal Rebalancing Of Mixed Stereo Files:</strong> One of the most difficult balancing tasks is trying to adjust the levels of different instruments within a mixed stereo file, a situation most commonly encountered when you\'re mixing music built around samples from other records. Here\'s an example of this kind of processing in practice, the aim being to increase the vocal level as much as possible relative to the other instruments in this mixed stereo sample [[playerWavMp3Button? &exampleNumber=`15.01` &exampleFile=`Ch15/MS1501_VocalSample00_Raw`]]. Chopping out an earlier isolated example of the song\'s triggered kick-drum and phase-cancelling it with that in the sample helps reduce the kick\'s level [[playerWavMp3Button? &exampleNumber=`15.02` &exampleFile=`Ch15/MS1502_VocalSample01_KickCancel`]] and high-pass filtering removes a lot of other unwanted low-end below the vocal register [[playerWavMp3Button? &exampleNumber=`15.03` &exampleFile=`Ch15/MS1503_VocalSample02_HPF`]]. Some precise fader automation ducks the snare hits to an extent [[playerWavMp3Button? &exampleNumber=`15.04` &exampleFile=`Ch15/MS1504_VocalSample03_FaderAuto`]] and some more targeted ducking of the stereo Sides component takes that a little further [[playerWavMp3Button? &exampleNumber=`15.05` &exampleFile=`Ch15/MS1505_VocalSample04_SidesDucker`]]. Some fast high-frequency limiting dulls both the hi-hat and the snare [[playerWavMp3Button? &exampleNumber=`15.06` &exampleFile=`Ch15/MS1506_VocalSample05_SnareHatHFDucker`]], while a couple of automated low mid-range notch EQ bands further target the body of the snare sound [[playerWavMp3Button? &exampleNumber=`15.07` &exampleFile=`Ch15/MS1507_VocalSample06_SnareLFDucker`]]. The main remaining balance problem now stems from the rhythm guitar, and that\'s tackled using a set of five level-automated comb-filters (with root frequencies at 262Hz, 292Hz, 331Hz, 352Hz, and 441Hz) to individually target each of the part\'s main pitched notes [[playerWavMp3Button? &exampleNumber=`15.08` &exampleFile=`Ch15/MS1508_VocalSample07_GtrNotcher`]]. Now, compare this result with the original untreated sample [[playerWavMp3Button? &exampleNumber=`15.01` &exampleFile=`Ch15/MS1501_VocalSample00_Raw`]] -- the processing has made a big alteration in the balance, although not without some trade-offs for the vocal tone itself.<br><br></li>\r\n\r\n</ul>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"links\">LINKS</a></h3>\r\n\r\n<ul>\r\n\r\n[[$MSRecommendedLogo]]<br><br>\r\n\r\n<li><strong>Experimenter\'s Bias &amp; ABX Testing:</strong> In the book I talk about a lot of different ways that your mixing decisions can be biased, but there\'s one more that\'s worth knowing about in some situations: the so-called \'experimenter\'s bias\', namely that when we\'re presented with a decision, we all naturally tend to prefer the outcome we\'re expecting. The classic studio example of this is where you merrily tweak a channel plug-in for a few minutes, convinced that you\'re making things sound better, only to discover that the processor has been in bypass mode the whole time. (Every engineer I\'ve spoken to has had this kind of experience at least once!) This bias is most likely to cause problems where you\'re trying to evaluate subtle changes. If you\'re concerned that it\'s affecting your objectivity, then the best way to deal with it is via ABX (or double-blind) testing. You can find a full explanation of ABX testing, as well as links to software ABX testing utilities, at the <a href=\"http://web.archive.org/web/20070813001013/http://www.pcabx.com\">PC ABX</a> website. I use KikeG\'s <i>WinABX</i>[[$softwareLogoWin]] software myself.<br><br></li>\r\n\r\n\r\n\r\n</ul>',1,6,24,1,1,1,1425379392,1,1437893908,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'ms-ch15.htm',0,0,1,NULL),(18,'document','text/html','MSFTSS_Ch16Resources','Chapter 16: Mixing With Reverb','','ms-ch16','',1,0,0,23,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#audio\">AUDIO FILES</a> -- <a href=\"#updates\">UPDATES</a> -- <a href=\"#links\">LINKS</a> -- <a href=\"#reading\">FURTHER READING</a></h5>\r\n\r\n\r\n<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/Ch16/MSFTSS_Ch16_WAVs.zip`]]\">329MB ZIP</a>)</span></h3>\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Choosing Reverb Presets For Blend/Size:</strong> I\'ve used the following sample file [[playerWavMp3Button? &exampleNumber=`16.01` &exampleFile=`Ch16/MS1601_Preset0Dry`]] to feed a variety of different reverb presets in order to illustrate some of the issues to consider when choosing between them. In all these cases you\'ll hear only the effect, without any of the dry sound mixed in. The first four presets are ones which sound as if they would suit blend/size-enhancement roles, because they have some sense of acoustic realism about them and exhibit few unmusical metallic overtones. Preset 1 [[playerWavMp3Button? &exampleNumber=`16.02` &exampleFile=`Ch16/MS1602_Preset1BlendSize`]] is a \'Soft Chamber\' with a rather muted sound and truncated tail, which would suit blend situations, although I\'d probably shorten it a little further for this and roll off some high end.  Preset 2 [[playerWavMp3Button? &exampleNumber=`16.03` &exampleFile=`Ch16/MS1603_Preset2BlendSize`]] is a \'Small Chamber\' with a longer tail and a pronounced attack \'bump\' (which rather compromises the realism for me). For blend-enhancement, I\'d shorten this, while for size enhancement I\'d look to smooth or tempo-sync the attack bump, and probably remove some high end again. There\'s a suspicion of pitched resonance at around 495Hz too, which might need to be notched in some applications. Preset 3 [[playerWavMp3Button? &exampleNumber=`16.04` &exampleFile=`Ch16/MS1604_Preset3BlendSize`]] is one of my favourite Lexicon 960L size-enhancement presets: \'Acoustic Fill\'. I like the smooth and neutral decay, as well as the nice sense of space, although I usually end up reining in the frequency extremes a little with EQ for chart styles. Preset 4 [[playerWavMp3Button? &exampleNumber=`16.05` &exampleFile=`Ch16/MS1605_Preset4BlendSize`]] is a nice dense and fairly believable room sound which could be shortened into a blend reverb if you wanted. However, there\'s a pitched resonance at around 360Hz which I\'d probably want to zap with an EQ notch in most cases.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Choosing Reverb Presets For Tone/Sustain:</strong> The next four presets are all the kind of thing I\'d associate with tone/sustain-enhancement effects. Preset 5 [[playerWavMp3Button? &exampleNumber=`16.06` &exampleFile=`Ch16/MS1606_Preset5ToneSustain`]] is a \'Medium Warm Hall\' preset which is trying to be realistic and failing badly. However, this patch has a decent stereo image and a characteristic glassiness to the tone, without too much in the way of attack \'bump\', so would potentially work well for mid/high-frequency sustain enhancement. Preset 6 [[playerWavMp3Button? &exampleNumber=`16.07` &exampleFile=`Ch16/MS1607_Preset6ToneSustain`]] has an interesing metallic tone, but has dreadful mono compatibility, so I\'d be wary of using this one unless I was planning to narrow its stereo width a good deal. Preset 7 [[playerWavMp3Button? &exampleNumber=`16.08` &exampleFile=`Ch16/MS1608_Preset7ToneSustain`]] is a \'Concrete Room\' patch which is exactly the kind of thing that I find tends to work well for tonal modifications, because of its rather unnatural timbre. However, I\'d probably plan to shorten it a little for most mix situations. Preset 8 [[playerWavMp3Button? &exampleNumber=`16.09` &exampleFile=`Ch16/MS1609_Preset8ToneSustain`]] has a very pronounced resonance at around 445Hz, which could work well if in tune with your arrangement. There\'s a lot of high-frequency information here, though, and I\'d expect to tone this down somewhat with EQ in the majority of cases.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Setting Reverb Time:</strong> Here\'s a demo mix completely without reverb [[playerWavMp3Button? &exampleNumber=`16.10` &exampleFile=`Ch16/MS1610_Length0Dry`]]. Adding in a reverb which is too short leaves the mix a bit lacking in warmth [[playerWavMp3Button? &exampleNumber=`16.11` &exampleFile=`Ch16/MS1611_Length1Short`]], while a reverb which is too long swamps the mix details and gives itself away as an unnatural effect [[playerWavMp3Button? &exampleNumber=`16.12` &exampleFile=`Ch16/MS1612_Length2Long`]]. Between these two extremes lies a more appropriate setting [[playerWavMp3Button? &exampleNumber=`16.13` &exampleFile=`Ch16/MS1613_Length3Medium`]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Equalising The Reverb Return:</strong> Here\'s a demo mix which uses a single reverb, complete with EQ in the return channel to focus its effect into the most suitable frequency regions [[playerWavMp3Button? &exampleNumber=`16.14` &exampleFile=`Ch16/MS1614_EQ0Full`]]. Now I\'ll bypass each of the EQ bands in turn to demonstrate their impact on the effect balance: high-pass filter bypassed [[playerWavMp3Button? &exampleNumber=`16.15` &exampleFile=`Ch16/MS1615_EQ1HPFOut`]]; low-pass filter bypassed [[playerWavMp3Button? &exampleNumber=`16.16` &exampleFile=`Ch16/MS1616_EQ2LPFOut`]]; and midrange peaking-filter cut bypassed [[playerWavMp3Button? &exampleNumber=`16.17` &exampleFile=`Ch16/MS1617_EQ3PeakCutOut`]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Adding Predelay:</strong> This demo mix again uses a single reverb, but in this version the reverb uses no predelay [[playerWavMp3Button? &exampleNumber=`16.18` &exampleFile=`Ch16/MS1618_PredelayOut`]], whereas in this version [[playerWavMp3Button? &exampleNumber=`16.19` &exampleFile=`Ch16/MS1619_PredelayIn`]] there is a 35ms predelay. In this scenario the difference is quite subtle -- it can help to focus on how \'close\' and \'clear\' the lead vocal sounds in each case.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Blend Reverb:</strong> Blend reverb is frequently useful for blending a selection of drum close-mics together into a more cohesive-sounding instrument, as in this example [[playerWavMp3Button? &examplePrefix=`without reverb ` &exampleNumber=`16.20` &exampleFile=`Ch16/MS1620_Drums2NoBlend_MR0911` &examplePrefix2=`with reverb ` &exampleNumber2=`16.21` &exampleFile2=`Ch16/MS1621_Drums2Blend_MR0911`]]. Here\'s an example of blend reverb in action over a full mix: the first file is completely dry [[playerWavMp3Button? &exampleNumber=`16.22` &exampleFile=`Ch16/MS1622_Mix2Dry`]], whereas the second has a touch of blend reverb applied [[playerWavMp3Button? &exampleNumber=`16.23` &exampleFile=`Ch16/MS1623_Mix2ReverbBlend`]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Size Reverb:</strong> Following on from the blend reverb example above, here\'s the same dry demo mix [[playerWavMp3Button? &exampleNumber=`16.22` &exampleFile=`Ch16/MS1622_Mix2Dry`]] with a dusting of size reverb instead [[playerWavMp3Button? &exampleNumber=`16.24` &exampleFile=`Ch16/MS1624_Mix2ReverbSize`]], and here it is again with both treatments simultaneously [[playerWavMp3Button? &exampleNumber=`16.25` &exampleFile=`Ch16/MS1625_Mix2ReverbBlendSize`]]. Here\'s an example of subtle size reverb helping to imply a slightly larger space around drums [[playerWavMp3Button? &examplePrefix=`without reverb ` &exampleNumber=`16.26` &exampleFile=`Ch16/MS1626_Drums1NoSize_MR1001` &examplePrefix2=`with reverb ` &exampleNumber2=`16.27` &exampleFile2=`Ch16/MS1627_Drums1Size_MR1001`]]. Another illustration is the feather-light size reverb here, this time applied to all the instruments in an acoustic jazz trio [[playerWavMp3Button? &examplePrefix=`without reverb ` &exampleNumber=`16.28` &exampleFile=`Ch16/MS1628_Mix1NoSize_MR0804` &examplePrefix2=`with reverb ` &exampleNumber2=`16.29` &exampleFile2=`Ch16/MS1629_Mix1Size_MR0804`]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Tonal Reverb:</strong> A lot of the reverb treatments I\'ve used in Mix Rescue have tonal elements, but the best example of pure tone-enhancement is from this <a href=\"http://www.soundonsound.com/sos/jun08/articles/mixrescue_0608.htm\">Mix Rescue</a>, where I used it on this dry Cello DI signal [[playerWavMp3Button? &exampleNumber=`16.30` &exampleFile=`Ch16/MS1630_CelloDINoTone_MR0806`]] to lend it some life and resonance [[playerWavMp3Button? &exampleNumber=`16.31` &exampleFile=`Ch16/MS1631_CelloDITone_MR0806`]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Sustain Reverb:</strong> For this <a href=\"http://www.soundonsound.com/sos/jan10/articles/mixrescue_0110.htm\">Mix Rescue</a> project I used two different sustain reverbs, both using plate-reverb emulations. Here are the reverb returns in isolation [[playerWavMp3Button? &exampleNumber=`16.32` &exampleFile=`Ch16/MS1632_Mix3Sustain1Return_MR1001` &exampleNumber2=`16.33` &exampleFile2=`Ch16/MS1633_Mix3Sustain2Return_MR1001`]] and also within the context of the completed remix [[playerWavMp3Button? &exampleNumber=`16.34` &exampleFile=`Ch16/MS1634_Mix3FX_MR1001`]]. Notice how each effect has a very different tone, and are each applied to a different balance of the instruments.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Spread Reverb:</strong> Here\'s an example of a reverb being used primarily for stereo spread, although with some inevitable tone/sustain side-effects [[playerWavMp3Button? &examplePrefix=`without reverb ` &exampleNumber=`16.35` &exampleFile=`Ch16/MS1635_AcGtr1NoSpread` &examplePrefix2=`with reverb ` &exampleNumber2=`16.36` &exampleFile2=`Ch16/MS1636_AcGtr1Spread`]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Blending By Other Means:</strong> Although I\'ve already demonstrated that you could blend this dry track [[playerWavMp3Button? &exampleNumber=`16.37` &exampleFile=`Ch16/MS1637_RevAltsDry`]] using reverb, there are a number of alternative treatments which can also blend tracks together more surreptitiously, as in the following demonstrations (each of which appears first in isolation so that you can hear its characteristics clearly, and is then toggled in/out of the mix every bar so that you can more easily hear the subtle changes): simple tempo-sync\'ed stereo delay [[playerWavMp3Button? &examplePrefix=`solo ` &exampleNumber=`16.38` &exampleFile=`Ch16/MS1638_RevAltsDelaySolo` &examplePrefix2=`in the mix ` &exampleNumber2=`16.39` &exampleFile2=`Ch16/MS1639_RevAltsDelayMix`]], synth pads [[playerWavMp3Button? &examplePrefix=`solo ` &exampleNumber=`16.40` &exampleFile=`Ch16/MS1640_RevAltsPadSolo` &examplePrefix2=`in the mix ` &exampleNumber2=`16.41` &exampleFile2=`Ch16/MS1641_RevAltsPadMix`]], and Foley \'room tone\' [[playerWavMp3Button? &examplePrefix=`solo ` &exampleNumber=`16.42` &exampleFile=`Ch16/MS1642_RevAltsRoomToneSolo` &examplePrefix2=`in the mix ` &exampleNumber2=`16.43` &exampleFile2=`Ch16/MS1643_RevAltsRoomToneMix`]]. Another couple of blending tricks can be heard on the lead vocal in these examples: subtle double-tracking [[playerWavMp3Button? &examplePrefix=`solo ` &exampleNumber=`16.43`&exampleFile=`Ch16/MS1644_RevAltsDTMix`]] and gentle stereo widening [[playerWavMp3Button? &examplePrefix=`solo ` &exampleNumber=`16.45` &exampleFile=`Ch16/MS1645_RevAltsVoxWidenerSolo` &examplePrefix2=`in the mix ` &exampleNumber2=`16.46` &exampleFile2=`Ch16/MS1646_RevAltsVoxWidenerMix`]]. Although these effects are all fairly subtle on their own, they can be surprisingly powerful in combination, as in this example where I\'ve added all these alternative blending treatments simultaneously, once again toggling the effect every bar for better audibility [[playerWavMp3Button? &exampleNumber=`16.47` &exampleFile=`Ch16/MS1647_RevAltsAllEffectsMix`]]. For a simple real-world example, here\'s a <a href=\"http://www.soundonsound.com/sos/jun10/articles/mixrescue_0610.htm\">Mix Rescue</a> project where I used simple background noise [[playerWavMp3Button? &exampleNumber=`16.48` &exampleFile=`Ch16/MS1648_Mix6NoiseSolo_MR1006`]] to create additional blend [[playerWavMp3Button? &examplePrefix=`with noise ` &exampleNumber=`16.49` &exampleFile=`Ch16/MS1649_Mix6NoNoise_MR1006` &examplePrefix2=`without noise ` &exampleNumber2=`16.50` &exampleFile2=`Ch16/MS1650_Mix6Noise_MR1006`]]. For a slightly more involved example, check out this <a href=\"http://www.soundonsound.com/sos/apr09/articles/mixrescue_0409.htm\">Mix Rescue</a>, where I used reverb, electrical background noise, and low-level synth drones together. This is what those added elements sounded like in isolation [[playerWavMp3Button? &exampleNumber=`16.51` &exampleFile=`Ch16/MS1651_Mix4FairyDustSolo_MR0904`]] and the following pair of files show the effects in context [[playerWavMp3Button? &examplePrefix=`with additions ` &exampleNumber=`16.52` &exampleFile=`Ch16/MS1652_Mix4NoFairyDust_MR0904` &examplePrefix2=`without additions ` &exampleNumber2=`16.53` &exampleFile2=`Ch16/MS1653_Mix4FairyDust_MR0904`]]. There\'s another more extended example in this <a href=\"http://www.soundonsound.com/sos/jul10/articles/mixrescue_0710.htm\">Mix Rescue</a>, where I added various sampled sound effects and ambient noises, as you can hear isolated in this file [[playerWavMp3Button? &exampleNumber=`16.54` &exampleFile=`Ch16/MS1654_Mix5SamplesSolo_MR1007`]]. Now compare the completed remix [[playerWavMp3Button? &exampleNumber=`16.55` &exampleFile=`Ch16/MS1655_Mix5SamplesFX_MR1007`]] to these alternate versions without the samples [[playerWavMp3Button? &exampleNumber=`16.56` &exampleFile=`Ch16/MS1656_Mix5NoSamples_MR1007`]]  and without any reverb/delay send effects [[playerWavMp3Button? &exampleNumber=`16.57` &exampleFile=`Ch16/MS1657_Mix5NoFX_MR1007`]] so you can get an idea of the impact of each on the production sound.<br><br></li>\r\n\r\n\r\n\r\n</ul>\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"updates\">UPDATES</a></h3>\r\n\r\n\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Soloing Reverb Returns In Steinberg <i>Cubase</i>:</strong> I\'ve had several readers remind me of something that\'s annoyed me for ages: when using Steinberg <i>Cubase</i> for mixing, by default it\'s not impossible to solo an FX Return channel without also soloing its feeder tracks. This makes it difficult to audition the \'wet\' reverb-only signal from a plug-in while setting it up, as suggested in the book. My usual workaround for this is to switch the reverb send to pre-fade, solo the return, and then fade down the dry signal. (Alternatively, you can just set the dry channel\'s output assignment to \'No Output\'.) However, a more elegant solution is to do your monitoring through Cubase\'s onboard \'Control Room\' facility, because this gives you an additional Listen button on every channel which does enable you to audition the wet-only reverb signal from FX Returns.<br><br></li>\r\n\r\n</ul>   \r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"links\">LINKS</a></h3>\r\n\r\n<ul>\r\n\r\n[[$MSRecommendedLogo]]<br><br>\r\n\r\n<li><strong>Affordable Algorithmic Reverb Plug-ins:</strong> Here\'s a large selection of freeware algorithmic reverbs -- they don\'t all sound very hi-fi, but then (as I discuss in the book), that\'s often not the point: Smartelectronix <a href=\"http://magnus.smartelectronix.com/#Ambience\"><i>Ambience</i></a>[[$softwareLogoMac]][[$softwareLogoWin32bit]]; Voxengo [[$software_Voxengo_OldSkoolVerb]]; PSP <a href=\"http://www.pspaudioware.com/plugins/reverbs/psp_pianoverb/\"><i>PianoVerb</i></a>[[$softwareLogoMac]][[$softwareLogoWin]]; Kjaerhus Audio [[$software_Kjaerhus_ClassicReverb]]; Variety Of Sound <a href=\"[[$URL_VarietyOfSound_VSTs]]\"><i>EpicVerb</i></a>[[$softwareLogoWin32bit]]; Silverspike <a href=\"http://www.silverspike.com/?Products:RoomMachine_844\"><i>RoomMachine 844</i></a>[[$softwareLogoWin32bit]] (and also their affordable <a href=\"http://www.silverspike.com/?Products:Reverb.it\"><i>Reverb.it</i></a>[[$softwareLogoWin]]); DaSample <i>GlaceVerb</i>[[$softwareLogoWin32bit]] (the developer\'s site is no longer available, but you can still download the plug-in <a href=\"http://www.vst4free.com/free_vst.php?id=458\">here</a>); Togu Audio Line <a href=\"http://tal-software.com/products/tal-reverb-4\"><i>Tal-Reverb</i></a>[[$softwareLogoMac]][[$softwareLogoWin]]; the reverbs in the [[$software_AntressModern_PluginCollection]]; GSI <a href=\"http://www.genuinesoundware.com/?a=showproduct&b=30\"><i>TimeVerb</i></a>[[$softwareLogoMac]][[$softwareLogoWin32bit]] (and also their affordable <a href=\"http://www.genuinesoundware.com/?a=showproduct&b=28\"><i>Spring Reverb Type4</i></a>[[$softwareLogoMac]][[$softwareLogoWin32bit]]); Martin Eastwood <i>MVerb</i>[[$softwareLogoMac]][[$softwareLogoWin32bit]] (the developer\'s site is no longer available, but you can still download the plug-in <a href=\"http://www.vstplanet.com/VST_effects/Reverb/MVerb_Win+Mac.zip\">here</a>); Greg Schlaepfer <a href=\"http://gregjazz.com/downloads/\"><i>Mutant Reverb</i></a>[[$softwareLogoWin32bit]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong><a name=\"Convolution\">Affordable Convolution Reverb:</a></strong> To use convolution reverb, you need a convolution plug-in and a set of impulse-response files. The best-known freeware convolution engine is Christian Knufinke\'s [[$software_ChristianKnufinke_SIR]]. (His reasonably priced cross-platform <a href=\"http://www.knufinke.de/sir/sir2.html\"><i>SIR2</i></a>[[$softwareLogoMac]][[$softwareLogoWin]] is one of my all-time favourite plug-ins, which I use it for most of my mixes.) However, an alternative is Liquid Sonics\'s freeware <a href=\"http://www.liquidsonics.com/software.htm\"><i>Reverberate LE</i></a>[[$softwareLogoWin32bit]] or their very affordable cross-platform <a href=\"http://www.liquidsonics.com/software.htm\"><i>Reverberate</i></a>[[$softwareLogoMac]][[$softwareLogoWin]]). There are free impulse responses all over the web, but a good source is the <a href=\"[[$URL_Echochamber_ImpulseLibrary]]\">Echochamber</a> (German-language) site. For a good general-purpose set of impulse responses, try the Lexicon 960L impulse responses from Echo Chamber -- here are direct links, in case the idea of reading a German website gives you the willies: ambiences <small>(<a href=\"http://www.echochamber.ch/images/responses/960/ambiences.zip\">2MB ZIP</a>)</small>, chambers <small>(<a href=\"http://www.echochamber.ch/images/responses/960/chambers.zip\">5MB ZIP</a>)</small>, halls <small>(<a href=\"http://www.echochamber.ch/images/responses/960/hall.zip\">12MB ZIP</a>)</small>, plates <small>(<a href=\"http://www.echochamber.ch/images/responses/960/plate.zip\">5MB ZIP</a>)</small>, rooms <small>(<a href=\"http://www.echochamber.ch/images/responses/960/rooms.zip\">3MB ZIP</a>)</small>. Samplicity have a great set of donationware impulses from the Bricasti M7 (which isn\'t on the Echochamber site) for download <a href=\"http://www.samplicity.com/bricasti-m7-impulse-responses/\">here</a>.<br><br></li>\r\n\r\n\r\n\r\n</ul>\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"reading\">FURTHER READING</a></h3>\r\n\r\n\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Reverb Effects In Practice:</strong> There are reverb tips to be had in most of my Mix Rescue articles, but there are a few where I discuss the subject of mix reverb in more depth: (<a href=\"http://www.soundonsound.com/sos/aug09/articles/mixrescue_0809.htm\">article 1</a>, <a href=\"http://www.soundonsound.com/sos/jan10/articles/mixrescue_0110.htm\">article 2</a>, <a href=\"http://www.soundonsound.com/sos/may10/articles/mixrescue_0510.htm\">article 3</a>, <a href=\"http://www.soundonsound.com/sos/jan11/articles/mixrescue-0111.htm\">article 4</a>). It\'s also worth mentioning this <a href=\"http://www.soundonsound.com/sos/dec08/articles/mixrescue.htm\">article</a> simply to demonstrate that there are some situations where reverb isn\'t really called for. If you\'d like a little more information on classic reverbs and their use, check out this <a href=\"http://www.soundonsound.com/sos/aug08/articles/reverbpart2_0808.htm\">article</a> and this <a href=\"http://www.soundonsound.com/sos/mar06/articles/usingreverb.htm\">article</a>.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>More About Convolution:</strong> Convolution processing is capable of more than just reverb. Here are a couple of articles which discuss some of the further potential of the technique: <a href=\"http://www.soundonsound.com/sos/apr05/articles/impulse.htm\">article 1</a>, <a href=\"http://www.soundonsound.com/sos/sep10/articles/convolution.htm\">article 2</a>.<br><br></li>\r\n\r\n\r\n\r\n</ul>',1,6,25,1,1,1,1425381004,1,1460526575,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'ms-ch16.htm',0,0,1,NULL),(19,'document','text/html','MSFTSS_Ch17Resources','Chapter 17: Mixing With Delays','','ms-ch17','',1,0,0,23,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\n\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#audio\">AUDIO FILES</a> -- <a href=\"#updates\">UPDATES</a> -- <a href=\"#links\">LINKS</a></h5>\n\n\n<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/Ch17/MSFTSS_Ch17_WAVs.zip`]]\">189MB ZIP</a>)</span></h3>\n\n<ul>\n\n\n\n<li><strong>Blend &amp; Size Delays:</strong> Here are four versions of the same basic mix: a completely dry version [[playerWavMp3Button? &exampleNumber=`17.01` &exampleFile=`Ch17/MS1701_Mix1Dry`]], a version with blend delay applied [[playerWavMp3Button? &exampleNumber=`17.02` &exampleFile=`Ch17/MS1702_Mix1DelayBlend`]], a version with size delay applied [[playerWavMp3Button? &exampleNumber=`17.03` &exampleFile=`Ch17/MS1703_Mix1DelaySize`]], and finally a version with both delays at once [[playerWavMp3Button? &exampleNumber=`17.04` &exampleFile=`Ch17/MS1704_Mix1DelayBlendSize`]]. Compare these files with the corresponding reverb treatments [[playerWavMp3Button? &examplePrefix=`blend ` &exampleNumber=`17.05` &exampleFile=`Ch17/MS1705_Mix1ReverbBlend` &examplePrefix2=`size ` &exampleNumber2=`17.06` &exampleFile2=`Ch17/MS1706_Mix1ReverbSize` &examplePrefix3=`both ` &exampleNumber3=`17.07` &exampleFile3=`Ch17/MS1707_Mix1ReverbBlendSize`]] to get a feeling for the differences, and also have a listen to what all four effects can do together [[playerWavMp3Button? &exampleNumber=`17.08` &exampleFile=`Ch17/MS1708_Mix1AllEffects`]].<br><br></li>\n\n\n\n<li><strong>Overall Reverb &amp; Delay Effects Balances:</strong> Here are some examples which demonstrate the overall reverb/delay effects balances for several different mixes. The first is from this <a href=\"http://www.soundonsound.com/sos/aug09/articles/mixrescue_0809.htm\">Mix Rescue</a>, where I used three reverbs and a delay for the final remix [[playerWavMp3Button? &exampleNumber=`17.09` &exampleFile=`Ch17/MS1709_Mix2FX_MR0908`]]. Here\'s what it sounds like without those effects [[playerWavMp3Button? &exampleNumber=`17.10` &exampleFile=`Ch17/MS1710_Mix2NoFX_MR0908`]]. In this <a href=\"http://www.soundonsound.com/sos/jul10/articles/mixrescue_0710.htm\">Mix Rescue</a>, I used two reverbs and three delays for the final remix [[playerWavMp3Button? &exampleNumber=`17.11` &exampleFile=`Ch17/MS1711_Mix5SamplesFX_MR1007`]], but this file has all of them muted [[playerWavMp3Button? &exampleNumber=`17.12` &exampleFile=`Ch17/MS1712_Mix5NoFX_MR1007`]]. There\'s a more detailed example in this <a href=\"http://www.soundonsound.com/sos/may10/articles/mixrescue_0510.htm\">Mix Rescue</a>, where the final remix [[playerWavMp3Button? &exampleNumber=`17.13` &exampleFile=`Ch17/MS1713_Mix4AllFX_MR1005`]] used blend reverb [[playerWavMp3Button? &exampleNumber=`17.14` &exampleFile=`Ch17/MS1714_Mix4ReverbBlend_MR1005`]], size reverb [[playerWavMp3Button? &exampleNumber=`17.15` &exampleFile=`Ch17/MS1715_Mix4ReverbSize_MR1005`]], sustain reverb [[playerWavMp3Button? &exampleNumber=`17.16` &exampleFile=`Ch17/MS1716_Mix4ReverbSustain_MR1005`]], size delay [[playerWavMp3Button? &exampleNumber=`17.17` &exampleFile=`Ch17/MS1717_Mix4DelaySize_MR1005`]], and ping-pong delay [[playerWavMp3Button? &exampleNumber=`17.18` &exampleFile=`Ch17/MS1718_Mix4DelaySpread_MR1005`]]. Check out the corresponding article link for more detailed information on the effect settings used in each case.<br><br></li>\n\n\n\n<li><strong>Ducking Delay:</strong> Let\'s say I want to add a strong echo effect to this vocal part [[playerWavMp3Button? &exampleNumber=`17.19` &exampleFile=`Ch17/MS1719_VoxNoDelay_MR0902`]]. Using a traditional delay effect clouds the vocal delivery itself [[playerWavMp3Button? &exampleNumber=`17.20` &exampleFile=`Ch17/MS1720_VoxDelay_MR0902`]], whereas a ducking delay allows the vocals much more space, while still delivering the same obvious echo tail [[playerWavMp3Button? &exampleNumber=`17.21` &exampleFile=`Ch17/MS1721_VoxDuckingDelay_MR0902`]].<br><br></li>\n\n\n\n</ul>\n\n\n\n<h3 class=\"h3ResourceCategory\"><a name=\"updates\">UPDATES</a></h3>\n\n\n\n<ul>\n\n\n\n<li><strong>Pitched Resonators:</strong> On page 257 I mentioned using short high-feedback delays to emphasise pitched resonances. However, I should have added that there is also a family of specialised effects that supply this kind of effect in a more controllable way: pitched resonators. Using pitched resonators is very similar to using sustain-enhancing reverb/delay patches, except that you can specify the exact pitches sustained more easily and accurately. It\'s best to use such effects as sends, not least because that lets you control the tone of the resonator harmonics better, and to apply them during balancing if they\'re going to considerably change the timbre of the instrument(s) they\'re applied to. In a subtler role, they can be particularly handy for trouble-shooting individual \'dead\' notes in acoustic-guitar recordings.<br><br></li>\n\n\n\n</ul>\n\n\n<h3 class=\"h3ResourceCategory\"><a name=\"links\">LINKS</a></h3>\n\n<ul>\n\n[[$MSRecommendedLogo]]<br><br>\n\n<li><strong>Affordable Delay Plug-ins:</strong> I use Cockos\'s freeware [[$software_Cockos_ReaDelay]] for all my general-purpose delay effects, but there are some other affordable plug-ins I use regularly for more specialised applications or coloristic tonal/sustain treatments. For a start, there are a number of emulated tape/vintage delay plug-ins: GSI\'s freeware <a href=\"http://www.genuinesoundware.com/?a=showproduct&b=36\"><i>WatKat</i></a>[[$softwareLogoMac]][[$softwareLogoWin32bit]] and affordable <a href=\"http://www.genuinesoundware.com/?a=showproduct&b=26\"><i>GS-201</i></a>[[$softwareLogoMac]][[$softwareLogoWin32bit]]; Smartelectronix\'s donationware <a href=\"http://mdsp.smartelectronix.com/analog-delay/\"><i>Analog Delay</i></a>[[$softwareLogoMac]][[$softwareLogoWin32bit]]; Tweakbench\'s freeware <a href=\"http://www.tweakbench.com/maelcum\"><i>Maelcum</i></a>[[$softwareLogoWin32bit]]; Variety Of Sound\'s freeware <a href=\"[[$URL_VarietyOfSound_VSTs]]\"><i>Nasty DLA</i></a>[[$softwareLogoWin32bit]]; The Interruptor\'s freeware <a href=\"http://www.interruptor.ch/vst_donationware.shtml\"><i>Tape Delay</i></a>[[$softwareLogoWin32bit]], <a href=\"http://www.interruptor.ch/vst_donationware.shtml\"><i>Bionic Delay</i></a>[[$softwareLogoWin32bit]], and <a href=\"http://www.interruptor.ch/vst_donationware.shtml\"><i>Echomania</i></a>[[$softwareLogoWin32bit]]; Bluenoise <a href=\"http://www.bluenoiseplugins.com/plugins/free-plugins/mountain-echo\"><i>Mountain Echo</i></a>[[$softwareLogoWin]]; Retro Sampling\'s freeware <a href=\"http://www.retrosampling.se/vst.htm\"><i>Vintage Tape Delay</i></a>[[$softwareLogoWin32bit]]; Meesha\'s freeware <a href=\"http://www.meesha.nl/vst/echo.html\"><i>Echo Master</i></a>[[$softwareLogoWin32bit]]; E-phonic\'s freeware <a href=\"http://www.e-phonic.com/plugins/tapedelay.php\"><i>TapeDelay</i></a>[[$softwareLogoWin32bit]] and <a href=\"http://www.e-phonic.com/plugins/retrodelay.php\"><i>RetroDelay</i></a>[[$softwareLogoWin32bit]]. Then there are two simple delays with useful additional features: Kjaerhus Audio\'s freeware [[$software_Kjaerhus_ClassicDelay]], with its switchable ping-pong mode, and GVST\'s freeware <a href=\"http://www.gvst.co.uk/gduckdly.htm\"><i>GDuckDly</i></a>[[$softwareLogoWin]], with its built-in ducking facility. Another freeware ducking delay is available from MDSP: <a href=\"http://mdsp.smartelectronix.com/product/mdspduckdela\"><i>MdspDuckDelay</i></a>[[$softwareLogoMac]][[$softwareLogoWin32bit]].<br><br></li>\n\n\n\n<li><strong>Affordable Pitched Resonator Plug-ins:</strong> I first came into contact with pitched resonators via the Resonant Chords patch of Lexicon\'s studio effects units, and although this effect is now available in software form as part of the <a href=\"http://www.lexiconpro.com/product.php?id=173\"><i>PCM Native Effects</i></a>[[$softwareLogoMac]][[$softwareLogoWin]] bundle, it\'s quite an expensive option if pitched resonance is all you\'re looking for. Stillwell Audio\'s cross-platform [[$software_StillwellAudio_Tinman]] provides a much more affordable alternative, although you\'ll need to use multiple single-pitch instances to achieve a similar level of functionality. Finding pitched resonators in freeware form isn\'t easy, especially because it\'s difficult to find a reliable download source for either of my two favourite examples, arcDev <i>Resomatic</i>[[$softwareLogoWin32bit]] and Oli Larkin\'s <i>Dronebox</i>[[$softwareLogoWin32bit]]. If you can\'t find one of those somewhere through Google, then try Mutagene <a href=\"http://dsp.mutagene.net\"><i>Macomate 88</i></a>[[$softwareLogoWin32bit]], which is also pretty good once you work out how to make sense of the slightly cryptic user interface.<br><br></li>\n\n\n\n</ul>',1,6,27,1,1,1,1425384085,1,1437718888,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'ms-ch17.htm',0,0,1,NULL),(20,'document','text/html','MSFTSS_Ch18Resources','Chapter 18: Stereo Enhancements','','ms-ch18','',1,0,0,23,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#audio\">AUDIO FILES</a> -- <a href=\"#updates\">UPDATES</a> -- <a href=\"#links\">LINKS</a> -- <a href=\"#reading\">FURTHER READING</a></h5>\r\n\r\n\r\n<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/Ch18/MSFTSS_Ch18_WAVs.zip`]]\">112MB ZIP</a>)</span></h3>\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Fake Double-tracks For Stereo Widening:</strong> I frequently generate additional double-track parts for stereo-widening purposes by using audio editing techniques, as in this <a href=\"http://www.soundonsound.com/sos/oct08/articles/mixrescue_1008.htm\">Mix Rescue</a>, where I edited a single guitar recording [[playerWavMp3Button? &exampleNumber=`18.01` &exampleFile=`Ch18/MS1801_GtrMono_MR0810`]] to create a fake double-track, and then panned the two parts to opposite sides of the stereo field [[playerWavMp3Button? &exampleNumber=`18.02` &exampleFile=`Ch18/MS1802_GtrWideDT_MR0810`]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Sampled Ambiences For Stereo Widening:</strong> I often use stereo ambiences to expand the stereo picture when mixing. In this <a href=\"http://www.soundonsound.com/sos/apr09/articles/mixrescue_0409.htm\">Mix Rescue</a> project, for example, I used simple background noise to widen this mix [[playerWavMp3Button? &examplePrefix=`with noise ` &exampleNumber=`18.03` &exampleFile=`Ch18/MS1803_Mix4FairyDust_MR0904` &examplePrefix2=`without noise ` &exampleNumber2=`18.04` &exampleFile2=`Ch18/MS1804_Mix4NoFairyDust_MR0904`]]. A more ostentatious example can be heard in this <a href=\"http://www.soundonsound.com/sos/may09/articles/mixrescue_0509.htm\">Mix Rescue</a>, where I layered in lots of weird stereo ambient effect samples [[playerWavMp3Button? &exampleNumber=`18.05` &exampleFile=`Ch18/MS1805_Mix1SFXSolo_MR0905`]] to transform this [[playerWavMp3Button? &exampleNumber=`18.06` &exampleFile=`Ch18/MS1806_Mix1NoSFX_MR0905`]] into this [[playerWavMp3Button? &exampleNumber=`18.07` &exampleFile=`Ch18/MS1807_Mix1SFX_MR0905`]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Demonstrations Of Different Stereo Widening Methods:</strong> Here\'s a simple mono synth pad [[playerWavMp3Button? &exampleNumber=`18.08` &exampleFile=`Ch18/MS1808_Pad1Mono`]], to which I\'ve applied various different stereo widening techniques for comparison purposes: static EQ-based widening [[playerWavMp3Button? &exampleNumber=`18.09` &exampleFile=`Ch18/MS1809_Pad1WideEQ`]], the classic pitch-shifted delay patch [[playerWavMp3Button? &exampleNumber=`18.10` &exampleFile=`Ch18/MS1810_Pad1WidePitchshiftDelay`]], chorusing [[playerWavMp3Button? &exampleNumber=`18.11` &exampleFile=`Ch18/MS1811_Pad1WideChorus`]], flanging [[playerWavMp3Button? &exampleNumber=`18.12` &exampleFile=`Ch18/MS1812_Pad1WideFlanger`]], phasing [[playerWavMp3Button? &exampleNumber=`18.13` &exampleFile=`Ch18/MS1813_Pad1WidePhaser`]]. This mono synth lead line [[playerWavMp3Button? &exampleNumber=`18.14` &exampleFile=`Ch18/MS1814_SynthMono`]], on the other hand, has been widened using fast auto-panning [[playerWavMp3Button? &exampleNumber=`18.15` &exampleFile=`Ch18/MS1815_SynthWideAutopan`]]. All these effects can work for stereo files as well, but M&amp;S techniques are very useful too. Take this stereo pad sound, for example [[playerWavMp3Button? &exampleNumber=`18.16` &exampleFile=`Ch18/MS1816_Pad2Stereo`]], which can be heard widened with M&S processing in this file [[playerWavMp3Button? &exampleNumber=`18.17` &exampleFile=`Ch18/MS1817_Pad2WideMS`]]. Extreme M&amp;S widening can make the stereo field appear to extend beyond the speakers [[playerWavMp3Button? &exampleNumber=`18.18` &exampleFile=`Ch18/MS1818_Pad2WideMSMore`]], but at the expense of mono-compatibility.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Stereo Widening In Practice:</strong> This <a href=\"http://www.soundonsound.com/sos/may10/articles/mixrescue_0510.htm\">Mix Rescue</a> involved a lot of stereo enhancements, including stereo chorusing [[playerWavMp3Button? &exampleNumber=`18.19` &exampleFile=`Ch18/MS1819_Mix3ChorusSolo_MR1005`]], stereo phasing [[playerWavMp3Button? &exampleNumber=`18.20` &exampleFile=`Ch18/MS1820_Mix3PhaserSolo_MR1005`]], and the classic pitch-shifted delay patch [[playerWavMp3Button? &exampleNumber=`18.21` &exampleFile=`Ch18/MS1821_Mix3PitchshiftDelaySolo_MR1005`]]. This is what the full mix sounded like with them all mixed in [[playerWavMp3Button? &exampleNumber=`18.22` &exampleFile=`Ch18/MS1822_Mix3FX_MR1005`]]. Here\'s another example of a dry mix [[playerWavMp3Button? &exampleNumber=`18.23` &exampleFile=`Ch18/MS1823_RevAltsDry`]], where the vocal is widened using a classic pitch-shifted delay [[playerWavMp3Button? &examplePrefix=`isolated ` &exampleNumber=`18.24` &exampleFile=`Ch18/MS1824_RevAltsVoxWidenerSolo` &examplePrefix2=`in the mix ` &exampleNumber2=`18.25` &exampleFile2=`Ch18/MS1825_RevAltsVoxWidenerMix`]]. For a good example of subtle general-purpose widening using ambience reverb and the classic pitch-shifted delay, compare these two files [[playerWavMp3Button? &examplePrefix=`without widening ` &exampleNumber=`18.26` &exampleFile=`Ch18/MS1826_Vocal3VerseDry_MR0811` &examplePrefix2=`with widening ` &exampleNumber2=`18.27` &exampleFile2=`Ch18/MS1827_Vocal3Verse_MR0811`]]. Here\'s the full mix [[playerWavMp3Button? &exampleNumber=`18.28` &exampleFile=`Ch18/MS1826_Vocal3VerseContext_MR0811`]] so that you can hear the effect in its proper context.<br><br></li>\r\n\r\n\r\n\r\n</ul>\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"updates\">UPDATES</a></h3>\r\n\r\n\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Some Additional Stereo-widening Treatments:</strong> Here are a couple of extra stereo-widening treatments not mentioned in the book: the short phase-flipped ping-pong delay, as implemented in the <a href=\"http://dallashodgson.info/articles/OpenAmbienceProject\"><i>SHEPPi</i></a>[[$softwareLogoWin32bit]] plug-in; and the \'delayed Sides\' method explained <a href=\"http://www.soundonsound.com/sos/nov10/articles/stereoprocessing.htm#7\">here</a>.<br><br></li> \r\n\r\n\r\n\r\n</ul>   \r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"links\">LINKS</a></h3>\r\n\r\n<ul>\r\n\r\n[[$MSRecommendedLogo]]<br><br>\r\n\r\n<li><strong>Affordable Pads &amp; Stereo Fillers:</strong> There are ridiculous numbers of freeware synths now available, and most of them can be turned to the task of making pads. However, one of the all-time great pad sounds is the Hammond organ (via its Leslie rotary speaker), and here are two good freeware instruments: fxPointAudio\'s freeware <i>Nubile &amp; Spinner LE</i>[[$softwareLogoWin32bit]] (the developer\'s site is no longer available, but you can still download the files from <a href=\"http://www.vstplanet.com/News/2012/NuBiPlus/NuBiPlus.zip\">here</a> and <a href=\"http://www.vstplanet.com/VST_effects/Modulation/SpinnerLE.zip\">here</a>) and GSI\'s freeware <a href=\"http://www.genuinesoundware.com/?a=showproduct&b=37\"><i>Organized Trio</i></a>[[$softwareLogoWin32bit]] (also available in an improved cross-platform version, the affordable <a href=\"http://www.genuinesoundware.com/?a=showproduct&b=24\"><i>VB3</i></a>[[$softwareLogoMac]][[$softwareLogoWin32bit]]). There are a few freeware plug-ins which will give you stereo filler ambiences, including Retro Sampling <a href=\"http://www.retrosampling.se/vst.htm\"><i>Audio Impurities</i></a>[[$softwareLogoWin32bit]] and <a href=\"http://www.retrosampling.se/vst.htm\"><i>Vinyl Dreams</i></a>[[$softwareLogoWin32bit]]; Tweakbench <a href=\"http://www.tweakbench.com/field\"><i>Field</i></a>[[$softwareLogoMac]][[$softwareLogoWin32bit]], but if you use this kind of thing a lot, then samples are the way to go. Retro Sampling offer several <a href=\"http://www.retrosampling.se/skivor.htm\">dedicated background-noise libraries</a>, and many hip-hop/electronica sample libraries include some elements like this. Any source of film/TV Foley samples will usually have a selection of usable stereo background-noise beds and room tones -- try the <a href=\"http://www.freesound.org/\">Freesound Project</a> or <a href=\"http://www.soundsnap.com/tags/room_tone\">Sound Snap</a>, for example.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Affordable Middle &amp; Sides (M&amp;S) Plug-ins:</strong> The plug-in I use all the time for this is Voxengo\'s freeware [[$software_Voxengo_MSED]], a simple but very effective M&amp;S encoder/decoder. What I particularly like about it is that you can choose just to encode or decode, making it possible to separate out the Middle or Sides signals for separate processing between two instances of the plug-in. For other stereo adjustments, such as left/right-channel panning, try Flux\'s freeware [[$software_Flux_StereoTool]], which also happens to have one of the best Vectorscope displays I know of. Brainworx\'s freeware [[$software_Brainworx_BXSolo]] is another useful plug-in when working with stereo width, as it allows you easily to audition and compare the Left, Right, Middle, and Sides signals. (Boz Digital\'s [[$software_BozDigital_Panipulator]] provides very similar functionality too, although via a slightly different user interface.) There are also a fair few multi-band M&S processors about, including freeware such as GVST <a href=\"http://www.gvst.co.uk/beta.htm\"><i>GStereo</i></a>[[$softwareLogoWin]] and Tone Projects <a href=\"http://www.toneprojects.com/products/plug-ins/basslane\"><i>Basslane</i></a>[[$softwareLogoWin32bit]], and also Melda\'s affordable <a href=\"http://www.meldaproduction.com/mstereoprocessor\"><i>MStereoProcessor</i></a>[[$softwareLogoMac]][[$softwareLogoWin]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Affordable Pitch-shift &amp; Vibrato Plug-ins:</strong> For a straight pitchshift, try out Bitterspring\'s freeware <a href=\"http://bitterspring.net/pitchshifter/\"><i>4 Band Shifter</i></a>[[$softwareLogoWin32bit]] or the \'superpitch\' module in the freeware Cockos [[$software_Cockos_ReaJS]] plug-in, although you\'ll need to insert a separate plug-in instance in each channel to get opposite left/right shifts for widening purposes. Alternatively, you could try Mda\'s freeware [[$software_Mda_Detune]], which does the opposing shifts automatically, or use two panned shifter voices within a single instance of the <a href=\"http://wiki.cockos.com/wiki/index.php/ReaPitch\"><i>ReaPitch</i></a> plug-in bundled with Cockos\'s affordable [[$software_Cockos_Reaper]] DAW, but you\'ll still need an additional stereo delay plug-in (such as Cockos\'s freeware [[$software_Cockos_ReaDelay]]) to achieve the classic Harmonizer-style pitch-shifted delay patch described in the book -- for a true one-stop solution, try Stillwell Audio\'s affordable [[$software_StillwellAudio_CMX]], which manages all the required micro-level pitch-shifts and delays internally. For vibrato widening, Melda\'s freeware [[$software_Melda_MVibrato]] is good, because it allows you to set up conflicting modulation in the left and right channels.<br><br></li>\r\n\r\n<li><strong>Affordable Auto-panning &amp; Rotary-speaker Plug-ins:</strong> The most flexible freeware auto-panners I know of are Cableguys [[$software_Cableguys_PanCake]] and Melda [[$software_Melda_MAutopan]], and their affordable multiband payware versions [[$software_Cableguys_PanShaper]] and <a href=\"http://www.meldaproduction.com/mcreativebundle/mmultibandautopan.php\"><i>MMultiBandAutoPan</i></a>[[$softwareLogoMac]][[$softwareLogoWin]] allow for a lot of more subtle auto-pan effects. MDA\'s simple freeware [[$software_Mda_Leslie]] can provide simple two-band auto-panning too if you set it up correctly, but can also achieve something more like a rotary-speaker effect by introducing level and pitch modulations. For something closer to a Leslie, try fxPointAudio\'s freeware <i>Spinner LE</i>[[$softwareLogoWin32bit]] (the developer\'s site is no longer available, but you can still download it <a href=\"http://www.vstplanet.com/VST_effects/Modulation/SpinnerLE.zip\">here</a>) or the emulation in GSI\'s freeware <a href=\"http://www.genuinesoundware.com/?a=showproduct&b=37\"><i>Organized Trio</i></a>[[$softwareLogoWin32bit]].<br><br></li> \r\n\r\n<li><strong>Implementing Custom-designed Modulation Effects:</strong> If you don\'t have suitable modulation options on your plug-ins, then there are other ways to implement the modulation you need. For example, you can also easily create vibrato widening from first principles in Cockos [[$software_Cockos_Reaper]] by applying the DAW\'s built-in Parameter Modulation facility to two <i>ReaPitch</i> shifter voices. On other DAW software platforms, a MIDI LFO generator such as Cableguys [[$software_Cableguys_MIDIShaper]] provides an alternative if you can set the required plug-in parameters to respond to the requisite MIDI messages.<br><br></li>\r\n\r\n</ul>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"reading\">FURTHER READING</a></h3>\r\n\r\n\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Stereo Widening In Practice:</strong> Many of my Mix Rescue remixes involve stereo-widening treatments of one kind or another, not least because the classic pitch-shifted delay patch is one of my default mix effects. However, this particular <a href=\"http://www.soundonsound.com/sos/may10/articles/mixrescue_0510.htm\">article</a> focuses more than usually on the subject.<br><br></li> \r\n\r\n\r\n\r\n</ul>',1,6,28,1,1,1,1425385072,1,1461306063,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'ms-ch18.htm',0,0,1,NULL),(21,'document','text/html','MSFTSS_Ch19Resources','Chapter 19: Buss Compression, Automation &amp; Endgame','','ms-ch19','',1,0,0,23,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\n\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#audio\">AUDIO FILES</a> -- <a href=\"#links\">LINKS</a> -- <a href=\"#reading\">FURTHER READING</a></small></h5>\n\n\n<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/Ch19/MSFTSS_Ch19_WAVs.zip`]]\">299MB ZIP</a>)</span></h3>\n\n<ul>\n\n\n\n<li><strong>Loudness Processing Examples:</strong> Here are examples of some of the different processes you might use to match the loudness of your mixes to commercial reference tracks. This mix [[playerWavMp3Button? &exampleNumber=`19.01` &exampleFile=`Ch19/MS1901_LoudnessDry`]] has a lot of detail in it, and also some deliberate buss compression \'pumping\', but no loudness-enhancement processing. Now listen to these loudness-enhanced versions: with \'top-down\' squeeze [[playerWavMp3Button? &examplePrefix=`full-band ` &exampleNumber=`19.02` &exampleFile=`Ch19/MS1902_LoudnessSqueezeDown` &examplePrefix2=`multi-band ` &exampleNumber2=`19.03` &exampleFile2=`Ch19/MS1903_LoudnessMultiSqueezeDown`]]; with \'bottom-up\' squeeze [[playerWavMp3Button? &examplePrefix=`full-band ` &exampleNumber=`19.04` &exampleFile=`Ch19/MS1904_LoudnessSqueezeUp` &examplePrefix2=`multi-band ` &exampleNumber2=`19.05` &exampleFile2=`Ch19/MS1905_LoudnessMultiSqueezeUp`]]; with limiting [[playerWavMp3Button? &examplePrefix=`full-band ` &exampleNumber=`19.06` &exampleFile=`Ch19/MS1906_LoudnessLimit` &examplePrefix2=`multi-band ` &exampleNumber2=`19.07` &exampleFile2=`Ch19/MS1907_LoudnessMultiLimit`]]; with subtle multi-band distortion [[playerWavMp3Button? &exampleNumber=`19.08` &exampleFile=`Ch19/MS1908_LoudnessMultiDistort`]]; with digital clipping [[playerWavMp3Button? &exampleNumber=`19.09` &exampleFile=`Ch19/MS1909_LoudnessClip`]]. Note that the digital peak level for all these files is identical (-0.3dBFS), so any subjective loudness differences are independent of peak level. To assess the undesirable side-effects of these loudness-enhancement processes most effectively, line up the WAV files in your DAW system and then make sure to match their subjective loudnesses (by adjusting the channel faders) before switching between them.<br><br></li>\n\n\n\n<li><strong>Automation For Long-term Mix Dynamics:</strong> To demonstrate the need for automation to adjust effects levels between sections, listen first to this dry mix [[playerWavMp3Button? &exampleNumber=`19.10` &exampleFile=`Ch19/MS1910_Mix1NoEffects`]]. Applying effects levels suitable for the more thickly textured chorus section leaves the preceding verse sounding swamped [[playerWavMp3Button? &exampleNumber=`19.11` &exampleFile=`Ch19/MS1911_Mix1EffectsNoAuto`]], whereas reducing the effects levels for the verse using automation [[playerWavMp3Button? &exampleNumber=`19.12` &exampleFile=`Ch19/MS1912_Mix1EffectsAuto`]] means that the verse sounds closer, therefore demanding more attention, while the chorus can then arrive with more authority by virtue of sounding more expansive.<br><br></li>\n\n\n\n<li><strong>Creating Build-up With Arrangement Techniques:</strong> This <a href=\"http://www.soundonsound.com/sos/may10/articles/mixrescue_0510.htm\">Mix Rescue</a> featured an unusually long build-up during its outro section. For the remix, much of this build-up was created using a progressively more complex guitar arrangement, which I\'ve isolated in this file [[playerWavMp3Button? &exampleNumber=`19.13` &exampleFile=`Ch19/MS1913_GtrBuild_MR1005`]]. Now that you\'ve heard it on its own, check out how it works in the context of the completed remix [[playerWavMp3Button? &exampleNumber=`19.14` &exampleFile=`Ch19/MS1914_GtrBuildContext_MR1005`]].<br><br></li>\n\n\n\n<li><strong>Intelligent Trouble-shooting With Automation:</strong> This acoustic guitar part has over-prominent fret noise [[playerWavMp3Button? &exampleNumber=`19.15` &exampleFile=`Ch19/MS1915_AcGtrFretNoiseNoAutoEQ`]], which can be remedied surprisingly effectively with an automated EQ band [[playerWavMp3Button? &exampleNumber=`19.16` &exampleFile=`Ch19/MS1916_AcGtrFretNoiseAutoEQ`]]. This one, on the other hand, has sporadic soundhole \'boom\' [[playerWavMp3Button? &exampleNumber=`19.17` &exampleFile=`Ch19/MS1917_AcGtrBoomNoAutoEQ_MR0904`]], and this unevenness can be dealt with using automated EQ notches [[playerWavMp3Button? &exampleNumber=`19.18` &exampleFile=`Ch19/MS1918_AcGtrBoomAutoEQ_MR0904`]].<br><br></li>\n\n\n\n<li><strong>Perfecting The Mix Balance With Automation:</strong> The foremost use of automation for fine balancing has got to be in relation to lead vocals, in order to maximise intelligibility. To understand what this means in practice, compare this mix without detailed vocal rides [[playerWavMp3Button? &exampleNumber=`19.19` &exampleFile=`Ch19/MS1919_VoxBalanceCompNoAuto_MR0812`]] with this version where the vocal level has been automated extensively [[playerWavMp3Button? &exampleNumber=`19.20` &exampleFile=`Ch19/MS1920_VoxBalanceCompAuto_MR0812`]] -- it\'s not as consistently upfront-sounding, despite heavy compression, because the processing isn\'t intelligent enough to judge how audible the vocal needs to be within the context of the mix. It\'s also not uncommon for dynamic tonal changes to creep into vocal recordings (for example if the singer moves relative to the microphone while performing), and in vocal-led mixes both fader and EQ automation may therefore be called for. In this <a href=\"http://www.soundonsound.com/sos/feb12/articles/mix-rescue-0212.htm\">Mix Rescue</a>, for instance, in addition to my usual fader rides I also automated the gain control of a very broad high-frequency peaking filter centred at 7.6kHz to really lock the vocals subjective position in the balance. Here\'s a section of that final mix with the fader and EQ automation active [[playerWavMp3Button? &exampleNumber=`19.35` &exampleFile=`Ch19/MS1935_AutoFaderEQIn_MR1202`]] and with both bypassed [[playerWavMp3Button? &exampleNumber=`19.36` &exampleFile=`Ch19/MS1936_AutoFaderEQOut_MR1202`]]. The effect of just the EQ rides can be heard in isolation in the following lead-vocal examples from this <a href=\"http://www.soundonsound.com/sos/nov11/articles/mix-rescue-1111.htm\">Mix Rescue</a> [[playerWavMp3Button? &examplePrefix=`with EQ automation ` &exampleNumber=`19.37` &exampleFile=`Ch19/MS1937_AutoEQIn_MR1111` &examplePrefix2=`without EQ automation ` &exampleNumber2=`19.38` &exampleFile2=`Ch19/MS1938_AutoEQOut_MR1111`]]. Vocal effects levels are also often automated both for balance and to make an artistic statement. This <a href=\"http://www.soundonsound.com/sos/jan10/articles/mixrescue_0110.htm\">Mix Rescue</a> features a good middle-of-the-road example of this kind of automation. This is the isolated lead vocal, complete with its automated send effects [[playerWavMp3Button? &exampleNumber=`19.21` &exampleFile=`Ch19/MS1921_Vox1AutoFX_MR1001`]], and here\'s the effects returns on their own [[playerWavMp3Button? &exampleNumber=`19.22` &exampleFile=`Ch19/MS1922_Vox1AutoFXSolo_MR1001`]] so you can hear the automation more clearly. Now listen to how these effects rides work within the context of the final remix [[playerWavMp3Button? &exampleNumber=`19.23` &exampleFile=`Ch19/MS1923_Vox1AutoFXContext_MR1001`]]. This <a href=\"http://www.soundonsound.com/sos/mar10/articles/mixrescue_0310.htm\">Mix Rescue</a> features a more extreme special-effect application, where automated delay [[playerWavMp3Button? &exampleNumber=`19.24` &exampleFile=`Ch19/MS1924_Vox2Delay_MR1003`]] and reverb [[playerWavMp3Button? &exampleNumber=`19.25` &exampleFile=`Ch19/MS1925_Vox2DelayReverb_MR1003`]] create an arresting combination. Although vocals often claim the lion\'s share of detailed rides, other instruments do also benefit from them. For example, here\'s a practical demonstration of the Andy Wallace-inspired cymbal rides mentioned in the book [[playerWavMp3Button? &examplePrefix=`without automation ` &exampleNumber=`19.26` &exampleFile=`Ch19/MS1926_DrumsNoAuto_MR0911` &examplePrefix2=`with automation ` &exampleNumber2=`19.27` &exampleFile2=`Ch19/MS1927_DrumsAuto_MR0911`]]. <br><br></li>\n\n\n\n<li><strong>Mix Revisions:</strong> This <a href=\"http://www.soundonsound.com/sos/may10/articles/mixrescue_0510.htm\">Mix Rescue</a> illustrates how a client\'s rejection of your first mix can help provide the information you need to deliver a more acceptable second version. In this case, although the first version [[playerWavMp3Button? &exampleNumber=`19.28` &exampleFile=`Ch19/MS1928_RemixRejected_MR1005`]] wasn\'t \'wrong\' from a technical standpoint, it was at odds with the artist\'s own sonic ideals. Discussing what was wrong with this version clarified the brief significantly, and the second version [[playerWavMp3Button? &exampleNumber=`19.29` &exampleFile=`Ch19/MS1929_RemixAccepted_MR1005`]] met with the artist\'s approval. A more extended example of this revision/feedback process can be found in this <a href=\"http://www.soundonsound.com/sos/feb10/articles/mixrescue_0210.htm\">Mix Rescue</a>, where the harp part went through five different versions [[playerWavMp3Button? &exampleNumber=`19.30` &exampleFile=`Ch19/MS1930_Harpv1_MR1002` &exampleNumber2=`19.31` &exampleFile2=`Ch19/MS1931_Harpv2_MR1002` &exampleNumber3=`19.32` &exampleFile3=`Ch19/MS1932_Harpv3_MR1002` &exampleNumber4=`19.33` &exampleFile4=`Ch19/MS1933_Harpv4_MR1002` &exampleNumber5=`19.34` &exampleFile5=`Ch19/MS1934_Harpv5_MR1002`]] before it hit the mark!<br><br></li>\n\n</ul>\n\n\n\n<h3 class=\"h3ResourceCategory\"><a name=\"links\">LINKS</a></h3>\n\n<ul>\n\n[[$MSRecommendedLogo]]<br><br>\n\n<li><strong>Affordable Plug-ins For Mastering-style Loudness Matching:</strong> I\'ve already mentioned masses of plug-in contenders in the other resources pages, but my own personal freeware favourites are George Yohng [[$software_GeorgeYohng_W1]] and GVST [[$software_GVST_GClip]]. A couple of good affordable payware options I\'ve also used a lot are IK Multimedia\'s <a href=\"http://www.ikmultimedia.com/products/trbricklim/\"><i>Brickwall Limiter</i></a>[[$softwareLogoMac]][[$softwareLogoWin]] (particularly its \'Advanced 1\' and \'Clean\' algorithms) and ToneBoosters <a href=\"http://www.toneboosters.com/tb-barricade/\"><i>TB Barricade</i></a>[[$softwareLogoMac]][[$softwareLogoWin]]. If you want to get a bit more serious about your home mastering (particularly with regards to adding subtle distortion components), then check out Izotope\'s excellent-value <a href=\"http://www.izotope.com/products/audio/ozone/\"><i>Ozone</i></a>[[$softwareLogoMac]][[$softwareLogoWin]]. Another bit of affordable software I find very useful for comparing mix tonalities is [[$software_Harbal]].<br><br></li>\n\n<li><strong>Freeware Vocal Rider Plug-in:</strong> Back in I June 2010 wrote <a href=\"http://www.soundonsound.com/sos/jun10/articles/cubase_0610.htm\">this <i>Cubase</i> tutorial</a> showing a way of implementing something of the functionality of the Waves <i>Vocal Rider</i> plug-in using bundled plug-ins. One reader of that article, Terry West, decided to consolidate that workaround into a dedicated VST plug-in so that it could be used in other DAWs, and the result is his <a href=\"http://www.terrywest.nl/utils.html\"><i>Vocal Rider</i></a>.<br><br></li>\n\n</ul>\n\n\n\n<h3 class=\"h3ResourceCategory\"><a name=\"reading\">FURTHER READING</a></h3>\n\n\n\n<ul>\n\n\n\n<li><strong>Celebrated Buss Compressors:</strong> This <a href=\"http://www.soundonsound.com/sos/may08/articles/mixcompression.htm#1\">article</a> lists a good number of the most celebrated buss compressors, and provides a reference point when selecting suitable master-buss plug-ins for your own mix work, especially if you have access to a library of digitally emulated classic compressors, perhaps via Universal Audio\'s <a href=\"http://www.uaudio.com/products/uad/index.html\"><i>UAD2</i></a>[[$softwareLogoMac]][[$softwareLogoWin]], Focusrite\'s <a href=\"http://www.focusrite.com/products/liquid/liquid_mix/\"><i>Liquid Mix</i></a>[[$softwareLogoMac]][[$softwareLogoWin]], URS <a href=\"http://www.ursplugins.com/ursStripPro.html\"><i>Console Strip Pro</i></a>[[$softwareLogoMac]][[$softwareLogoWin]], Acustica <a href=\"http://www.acustica-audio.com\"><i>Nebula</i></a>[[$softwareLogoMac]][[$softwareLogoWin]], or one of the <a href=\"http://www.waves.com\">Waves</a> plug-in bundles.<br><br></li>\n\n\n\n<li><strong>The \'Loudness War\' Debate:</strong> Here are a few good sites if you\'re interested in the so-called \'<a href=\"http://en.wikipedia.org/wiki/Loudness_war\">Loudness War</a>\': <a href=\"http://www.turnmeup.org\">Turn Me Up</a>, <a href=\"http://www.pleasurizemusic.com\">Pleasurize Music Foundation</a>. At the last of these you can also download (in return for a small donation) a great off-line dynamic-range metering utility. Here\'s another very thought-provoking <a href=\"http://www.soundonsound.com/sos/sep11/articles/loudness.htm\">article</a> on the subject.<br><br></li>\n\n\n\n<li><strong>What To Expect From Mastering:</strong> It\'s my opinion that most small-studio mix engineers expect too much from mastering, a point which I felt was well illustrated in Sound On Sound\'s <a href=\"http://www.soundonsound.com/sos/mar06/articles/onlinemastering.htm\">Online Mastering Services Shootout</a>, with its follow-up <a href=\"http://www.soundonsound.com/sos/apr06/articles/onlinemastering.htm\">Blind Test Results</a> and SOS forum polls (<a href=\"http://www.soundonsound.com/forum/showflat.php?Cat=&Number=253905\">poll 1</a>, <a href=\"http://www.soundonsound.com/forum/showflat.php?Cat=&Number=253909\">poll 2</a>, <a href=\"http://www.soundonsound.com/forum/showflat.php?Cat=&Number=253914\">poll 3</a>. All the audio files were also available on this <a href=\"http://www.soundonsound.com/dvd\">DVD</a> at the time -- if you can track down a copy of that it makes very interesting listening. This <a href=\"http://www.soundonsound.com/sos/aug15/articles/mix-rescue-0815.htm\">Mix Rescue article</a> also provides a good perspective on what mastering\'s really about, especially as far as project-studio productions are concerned.<br><br></li>\n\n\n\n<li><strong>Demo-chasing &amp; Mix Revisions:</strong> In this <a href=\"http://www.soundonsound.com/sos/jul10/articles/mixrescue_0710.htm\">Mix Rescue</a> I provide some advice on \'chasing the demo\' at mixdown, and here some other Mix Rescues where I talk about dealing with mix revision requests <a href=\"http://www.soundonsound.com/sos/feb10/articles/mixrescue_0210.htm\">article 1</a>, <a href=\"http://www.soundonsound.com/sos/may10/articles/mixrescue_0510.htm\">article 2</a>, <a href=\"http://www.soundonsound.com/sos/jun08/articles/mixrescue_0608.htm\">article 3</a>.<br><br></li>\n\n\n\n<li><strong>Mix Automation In Practice:</strong> Here are some Mix Rescues where I focus on different aspects of detailed level automation: <a href=\"http://www.soundonsound.com/sos/oct09/articles/mixrescue_1009.htm\">article 1</a>, <a href=\"http://www.soundonsound.com/sos/aug09/articles/mixrescue_0809.htm\">article 2</a>.<br><br></li>\n\n\n\n</ul>',1,6,29,1,1,1,1425387056,1,1474886250,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'ms-ch19.htm',0,0,1,NULL),(22,'document','text/html','MSFTSS_Ch00ResourcesIntro','Introduction','','ms-intro','',1,0,0,23,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<p>Welcome to the on-line resource pages for \'<a href=\"[[~29]]\">Mixing Secrets For The Small Studio</a>\'. You can navigate the different pages using the links above. The resources are all free to use for educational purposes, and include:</p>\r\n\r\n<ul>\r\n\r\n<li><strong>Extensive Audio Examples:</strong> More than 350 audio demonstrations to illustrate important points in each chapter of the text. Files are available not only in 192kbps MP3 format for quick auditioning (with in-line play button), but also in 16-bit WAV format, allowing critical comparison of more subtle effects within your own DAW system.<br><br></li>\r\n\r\n<li><strong><a href=\"[[~373]]\">The \'Mixing Secrets\' Free Multitrack Download Library</a>:</strong> Includes [[$numberOfMultitracks]] <a href=\"[[~373]]\">free multitrack projects</a> in a variety of different musical styles, for use as mixing practice or as a basis for educational assignments. The projects can easily be imported into any DAW by copying all the WAVs to the same point in the time-line. Many of the projects have been remixed by Mike in his Sound On Sound \'<a href=\"[[~376]]#MixRescue\">Mix Rescue</a>\' columns, so you can read specific tips and tricks there if you need some pointers. If you\'re just starting out, check out the <a href=\"[[~422]]\">Suggestions For Mixing Newbies</a> page too.<br><br></li>\r\n\r\n<li><strong>Affordable Software Recommendations:</strong> Mike\'s personal selection of the best affordable audio software, including links to over 150 different freeware gems -- check out the \'Links\' section on each chapter page. For those in a hurry, there\'s also the <a href=\"[[~26]]#freeware\">Mixing Secrets Freeware Top Ten</a> and <a href=\"[[~26]]#crossplatform\">Cross-platform Software Recommendations</a>.<br><br></li>\r\n\r\n<li><strong>Affordable Hardware Recommendations:</strong> Mike\'s suggested \'best-buys\' for the small studio, complete with links to the appropriate manufacturers -- check out the \'Links\' section on each chapter page.<br><br></li>\r\n\r\n<li><strong>Mix Critiques:</strong> Improve your mix-related listening skills via the dozens of small-studio mix critiques on the <a href=\"[[~350]]\">Great \'Blood To Bone\' Mixoff</a> and <a href=\"[[~615]]\">Cambridge-MT Patrons Diesel13 \'Colour Me Red\' Mix Contest</a> pages, and also check out Mike\'s regular <a href=\"[[~376]]#MixReview\">The Mix Review</a> magazine column for detailed analysis of commercial chart productions.<br><br></li>\r\n\r\n<li><strong>Information For Newbies:</strong> A <a href=\"[[~2]]\">Whistlestop Guide To Studio Production</a> for those new to the subject, as well as a couple of good <a href=\"[[~26]]#glossaries\">Jargon-busting Glossaries</a>.<br><br></li>\r\n\r\n<li><strong>Further Reading:</strong> Additional on-line reading material relating to the subjects covered in the book -- check out the \'Further Reading\' section on each chapter page, as well as the recommended <a href=\"[[~26]]#interviews\">Producer Interview Links</a>. <br><br></li>\r\n\r\n</ul>',1,6,3,1,1,1,1425450928,1,1484907135,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'ms-intro.htm',0,0,1,NULL),(23,'document','text/html','Resources_MSFTSS','','','msftss-chresources','',0,0,0,0,1,'','',1,6,3,1,1,1,1425451746,1,1483086522,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'msftss-chresources/',0,0,1,NULL),(24,'document','text/html','Resources_RSFTSS','','','rsftss-chresources','',0,0,0,0,1,'','',1,6,4,1,1,1,1425451858,1,1483086536,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'rsftss-chresources/',0,0,1,NULL),(25,'document','text/html','RSFTSS_App1Resources','Appendix 1: Music Studios & The Recording Process -- An Overview','','rs-app1','',1,0,0,24,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#reading\">FURTHER READING</a> -- <a href=\"#glossaries\">JARGON-BUSTING GLOSSARIES</a> -- <a href=\"#systems\">SUGGESTED ENTRY-LEVEL RECORDING SYSTEMS</a></h5>\r\n\r\n[[$whistlestopGuide]]\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"systems\">SUGGESTED ENTRY-LEVEL RECORDING SYSTEMS</a></h3>\r\n\r\n<p>You\'ll only get the best out of <i>Recording Secrets For The Small Studio</i> if you can experiment with its techniques for yourself &mdash; which means you\'ll need a recording system you can practice with. If you don\'t have any studio equipment already, then here are some suggestions about finding an affordable setup that will allow you to follow the Chapter Assignments effectively:</p>\r\n\r\n<ul>\r\n\r\n<li><strong>A Basic Computer Recording System:</strong> The most common entry-level recording system comprises a computer, an audio interface, and some DAW software. Here are my answers to the most common equipment-choice questions:\r\n<ul>\r\n<li><strong>Mac Or PC?:</strong> Whichever you feel more comfortable with. There are pros and cons to each, but both are capable of commercial-level results.</li>\r\n<li><strong>Laptop Or Desktop?:</strong> Again, both are perfectly capable of pro-grade results. You\'ll get more power and expandability from a desktop for a given outlay, but a laptop will make it easier to record on location, especially where mains power is unreliable.</li>\r\n<li><strong>Which Audio Interface?:</strong> The equipment market is saturated with affordable audio interfaces, and the quality of even entry-level devices is now so high that it\'s difficult to go wrong on quality grounds these days &mdash; in other words, such equipment should be more than a match for your skills until you\'ve worked your way through the book\'s assignments! Just try to buy from a well-established manufacturerer, and also check for on-line bug reports from users before purchasing. Beyond that, the main consideration is I/O. Although you could work your way through Parts 1 &amp; 2 with just a couple of inputs, you\'ll need at least eight inputs with mic preamplification to properly explore the multimiking and ensemble-recording techniques of Parts 3 &amp; 4. An ADAT digital input can provide useful future-proofing by allowing you to expand your I/O count (or increase your capture quality) with external preamps/converters at a later date. Don\'t forget to consider how many independent headphone outputs are available, and to specify MIDI connections if you need them.</li>\r\n<li><strong>Which DAW Software?:</strong> Dedicated studio DAW packages from companies such as Apple, Avid, Cakewalk, Cockos, Magix, MOTU, Presonus, and Steinberg now have ample facilities for recording purposes, and quality shouldn\'t really be an issue. If you already have a DAW package from one of those manufacturers, then feel free to use that. If not, I\'d recommend the cross-platform DAW <a href=\"http://www.reaper.fm/\">Cockos <i>Reaper</i></a>[[$softwareLogoMac]][[$softwareLogoWin]], which I\'ve used myself for years and which is extremely cost-effective.</li>\r\n</ul>\r\n<br><br></li>\r\n\r\n<li><strong>A Digital Multitracker:</strong> Although standalone hardware <a href=\"http://www.soundonsound.com/sos/mar01/articles/16track.asp\">digital multitrackers</a> are typically less fully featured than a computer recording system, they can be more convenient for location recording and their \'studio in a box\' design may also be very cost-effective -- not least if you take advantage of the well-populated second-hand equipment market. However, such systems are typically cumbersome and underpowered when it comes to editing and mixing, so make sure you have the option to export their audio files in some widely recognised format such as WAV or AIF. Some multitrackers restrict the number of inputs/tracks you can record simultaneously, so check for this before buying. Although I know of at least one big hit of the digital age which was recorded on an analogue multitracker (White Town\'s 1997 single \'<a href=\"http://www.soundonsound.com/sos/1997_articles/apr97/whitetown.html\">Your Woman</a>\'), on the whole such devices are too noisy and lo-fi to achieve commercially viable sonics these days.<br><br></li>\r\n\r\n<li><strong>Some Perspective...</strong> I\'d also like to add that, in my experience, beginners generally worry far too much about the recording gear they use. With sensible recording technique and an active pair of ears you can make excellent recordings with ridiculously modest gear. Or, to put it another way, 99% of the dodgiest small-studio recordings I\'ve heard resulted from poor engineering, not poor equipment. If you keep your recording system fairly basic in the first instance, you can invest more cash in things that make a bigger difference &mdash; things like acoustic treatment, high-quality instruments, and decent mics.<br><br></li>\r\n</ul>',1,6,19,1,1,1,1425452925,1,1435558777,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'rs-app1.htm',0,0,1,NULL),(26,'document','text/html','MSFTSS_Ch20Links','Useful Mixing Links','','ms-links','',1,0,0,23,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#freeware\">FREEWARE TOP TEN</a> -- <a href=\"#crossplatform\">AFFORDABLE CROSS-PLATFORM SOFTWARE</a> -- <a href=\"#glossaries\">GLOSSARIES</a> -- <a href=\"#forums\">FORUMS</a> -- <a href=\"#interviews\"> PRODUCER INTERVIEWS</a></h5>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"freeware\">MIXING SECRETS FREEWARE TOP TEN</a></h3>\r\n\r\n<p>I\'ve made more than 200 software recommendations in these resource pages, but if you\'re short on time then here\'s a shortlist of my own favourite freeware sources:</p>\r\n\r\n<img class=\"imgMSTopTenLogo\" src=\"[[$sitePrefixCMT]]SitePix/MSFreewareAward_Medium72dpiHorizontal.jpg\">\r\n\r\n<ul>\r\n\r\n<li><strong><a href=\"http://antress.er-webs.com/\">Antress</a></strong></br>The large [[$software_AntressModern_PluginCollection]] includes many plug-ins designed to emulate classic analogue hardware.<br><br></li>\r\n\r\n<li><strong><a href=\"http://www.knufinke.de\">Christian Knufinke</a></strong><br>The [[$software_ChristianKnufinke_SIR]] plug-in is a great basic convolution engine. Here are some good all-purpose reverb impulse responses to use with it: ambiences <span class=\"spanExampleFile\">(<a href=\"http://www.echochamber.ch/images/responses/960/ambiences.zip\">2MB ZIP</a>)</span>, chambers <span class=\"spanExampleFile\">(<a href=\"http://www.echochamber.ch/images/responses/960/chambers.zip\">5MB ZIP</a>)</span>, halls <span class=\"spanExampleFile\">(<a href=\"http://www.echochamber.ch/images/responses/960/hall.zip\">12MB ZIP</a>)</span>, plates <span class=\"spanExampleFile\">(<a href=\"http://www.echochamber.ch/images/responses/960/plate.zip\">5MB ZIP</a>)</span>, and rooms <span class=\"spanExampleFile\">(<a href=\"http://www.echochamber.ch/images/responses/960/rooms.zip\">3MB ZIP</a>)</span>, all care of the <a href=\"[[$URL_Echochamber_ImpulseLibrary]]\">Echochamber</a> site.<br><br></li>\r\n\r\n<li><strong><a href=\"http://www.cockos.com\">Cockos</a></strong><br>The flexible [[$software_Cockos_ReaPlugs]] bundle includes <a href=\"http://wiki.cockos.com/wiki/index.php/ReaEQ\"><i>ReaEQ</i></a>, <a href=\"http://wiki.cockos.com/wiki/index.php/ReaGate\"><i>ReaGate</i></a>, <a href=\"http://wiki.cockos.com/wiki/index.php/ReaComp\"><i>ReaComp</i></a>, <a href=\"http://wiki.cockos.com/wiki/index.php/ReaXcomp\"><i>ReaXcomp</i></a>, <a href=\"http://wiki.cockos.com/wiki/index.php/ReaDelay\"><i>ReaDelay</i></a>, <a href=\"http://wiki.cockos.com/wiki/index.php/ReaFIR\"><i>ReaFIR</i></a>, and the <i>ReaJS</i> <a href=\"http://wiki.cockos.com/wiki/index.php/Jesusonic_Effects_Documentation\">Jesusonic effects</a> host.<br><br></li>\r\n\r\n<li><strong><a href=\"http://www.fluxhome.com\">Flux</a></strong><br>The home of [[$software_Flux_StereoTool]] and [[$software_Flux_BitterSweet]].<br><br></li>\r\n\r\n<li><strong><a href=\"http://www.gvst.co.uk/\">GVST</a></strong><br>A great range of little workhorses, including [[$software_GVST_GGain]], [[$software_GVST_GFader]], <a href=\"http://www.gvst.co.uk/ghi.htm\"><i>GHi</i></a>[[$softwareLogoWin]], [[$software_GVST_GClip]], <a href=\"http://www.gvst.co.uk/gsnap.htm\"><i>GSnap</i></a>[[$softwareLogoWin]], <a href=\"http://www.gvst.co.uk/beta.htm\"><i>GRect</i></a>[[$softwareLogoWin]], <a href=\"http://www.gvst.co.uk/beta.htm\"><i>GStereo</i></a>[[$softwareLogoWin]], <a href=\"http://www.gvst.co.uk/gtune.htm\"><i>GTune</i></a>[[$softwareLogoWin]], and <a href=\"http://www.gvst.co.uk/gduckdly.htm\"><i>GDuckDly</i></a>[[$softwareLogoWin]].<br><br></li>\r\n\r\n<li><strong><a href=\"http://mda.smartelectronix.com/\">Mda</a></strong><br>A great bundle of cross-platform open-source plug-ins, including [[$software_Mda_Combo]], [[$software_Mda_Leslie]], [[$software_Mda_Detune]], [[$software_Mda_SubSynth]], and [[$software_Mda_TestTone]].<br><br></li>\r\n\r\n<li><strong><a href=\"http://www.meldaproduction.com\">Melda Production</a></strong><br>A powerful plug-in suite including [[$software_Melda_MAnalyzer]], [[$software_Melda_MStereoScope]], [[$software_Melda_MEqualizer]], [[$software_Melda_MCompressor]], [[$software_Melda_MPhaser]], [[$software_Melda_MFlanger]], [[$software_Melda_MVibrato]], [[$software_Melda_MTremolo]], and [[$software_Melda_MAutopan]].<br><br></li>\r\n\r\n<li><strong><a href=\"http://www.platinumears.com\">Platinumears</a></strong><br>The home of the powerful [[$software_Platinumears_IQ4]] dynamic EQ plug-in.<br><br></li>\r\n\r\n<li><strong><a href=\"[[$URL_VarietyOfSound_VSTs]]\">Variety Of Sound</a></strong><br>Here you can find a great range of plug-ins, including <a href=\"[[$URL_VarietyOfSound_VSTs]]\"><i>BootEQ</i></a>[[$softwareLogoWin32bit]], <a href=\"[[$URL_VarietyOfSound_VSTs]]\"><i>PreFIX</i></a>[[$softwareLogoWin32bit]], <a href=\"[[$URL_VarietyOfSound_VSTs]]\"><i>Density</i></a>[[$softwareLogoWin32bit]], <a href=\"[[$URL_VarietyOfSound_VSTs]]\"><i>ThrillseekerVBL/LA/XTC</i></a>[[$softwareLogoWin32bit]], <a href=\"[[$URL_VarietyOfSound_VSTs]]\"><i>FerricTDS</i></a>[[$softwareLogoWin32bit]], <a href=\"[[$URL_VarietyOfSound_VSTs]]\"><i>Nasty VCS</i></a>[[$softwareLogoWin32bit]], <a href=\"[[$URL_VarietyOfSound_VSTs]]\"><i>TesslaSE/PRO</i></a>[[$softwareLogoWin32bit]], <a href=\"[[$URL_VarietyOfSound_VSTs]]\"><i>Nasty DLA</i></a>[[$softwareLogoWin32bit]] and <a href=\"[[$URL_VarietyOfSound_VSTs]]\"><i>EpicVerb</i></a>[[$softwareLogoWin32bit]].<br><br></li>\r\n\r\n<li><strong><a href=\"http://www.voxengo.com\">Voxengo</a></strong><br>Lots of excellent freeware here, including [[$software_Voxengo_MSED]], [[$software_Voxengo_MarvelGEQ]], [[$software_Voxengo_SPAN]], [[$software_Voxengo_TubeAmp]], [[$software_Voxengo_Boogex]], and [[$software_Voxengo_OldSkoolVerb]].<br><br></li>\r\n\r\n</ul>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"crossplatform\">AFFORDABLE CROSS-PLATFORM SOFTWARE</a></h3>\r\n\r\n<p>I\'ve tried to mention appropriate cross-platform software options in every chapter page, but here are some of my overall top tips -- they\'re not all freeware, but they are all excellent value:</p>\r\n\r\n<ul>\r\n\r\n[[$MSRecommendedLogo]]<br><br>\r\n\r\n<li><strong><a href=\"http://www.fluxworx-music.de\">Brainworx</a></strong><br>Check out the freeware [[$software_Brainworx_BXCleansweep]] and [[$software_Brainworx_BXSolo]] plug-ins.<br><br></li>\r\n\r\n<li><strong><a href=\"http://www.cockos.com\">Cockos</a></strong><br>Their [[$software_Cockos_Reaper]] DAW is now my go-to DAW mixing platform. It\'s extremely powerful and ridiculously affordable. The built-in plug-ins are good enough to create professional-level mixes without any third-party assistance, and the editing and workflow-customisation facilities are phenomenal. If you try nothing else, try this.<br><br></li>\r\n\r\n<li><strong><a href=\"http://www.ddmf.eu\">DDMF</a></strong><br>A range of decent low-price plug-ins, including <a href=\"http://www.ddmf.eu/product.php?id=1\"><i>LP10</i></a></strong>[[$softwareLogoMac]][[$softwareLogoWin]], [[$software_DDMF_Metaplugin]], and <a href=\"http://www.ddmf.eu/product.php?id=4\"><i>NYCompressor</i></a></strong>[[$softwareLogoMac]][[$softwareLogoWin]].<br><br></li>\r\n\r\n<li><strong><a href=\"http://www.fluxhome.com\">Flux</a></strong><br>As featured in my <a href=\"[[~26]]#freeware\">Freeware Top Ten</a>.<br><br></li>\r\n\r\n<li><strong><a href=\"http://www.liquidsonics.com\">Liquid Sonics</a></strong><br>The <a href=\"http://www.liquidsonics.com/software.htm\"><i>Reverberate</i></a></strong>[[$softwareLogoMac]][[$softwareLogoWin]] plug-in is a decent cross-platform convolution engine. Here are some good all-purpose reverb impulse responses to use with it: ambiences <small>(<a href=\"http://www.echochamber.ch/images/responses/960/ambiences.zip\">2MB ZIP</a>)</small>, chambers <small>(<a href=\"http://www.echochamber.ch/images/responses/960/chambers.zip\">5MB ZIP</a>)</small>, halls <small>(<a href=\"http://www.echochamber.ch/images/responses/960/hall.zip\">12MB ZIP</a>)</small>, plates <small>(<a href=\"http://www.echochamber.ch/images/responses/960/plate.zip\">5MB ZIP</a>)</small>, and rooms <small>(<a href=\"http://www.echochamber.ch/images/responses/960/rooms.zip\">3MB ZIP</a>)</small>, all care of the <a href=\"[[$URL_Echochamber_ImpulseLibrary]]\">Echochamber</a> site.<br><br></li>\r\n\r\n<li><strong><a href=\"http://www.meldaproduction.com\">Melda Production</a></strong><br>As featured in my <a href=\"[[~26]]#freeware\">Freeware Top Ten</a>.<br><br></li>\r\n\r\n<li><strong><a href=\"http://www.sonalksis.com\">Sonalksis</a></strong><br>The freeware [[$software_Sonalksis_FreeG]] plug-in is good for metering and gain-management.<br><br></li>\r\n\r\n<li><strong><a href=\"http://www.stillwellaudio.com\">Stillwell Audio</a></strong><br>I like these reasonably priced plug-ins a lot, my personal favourites being [[$software_StillwellAudio_Schope]], [[$software_StillwellAudio_TheRocket]], [[$software_StillwellAudio_TransientMonster]], [[$software_StillwellAudio_VibeEQ]], [[$software_StillwellAudio_CMX]], and [[$software_StillwellAudio_BadBussMojo]].<br><br></li>\r\n\r\n<li><strong><a href=\"http://www.toneboosters.com\">ToneBoosters</a></strong><br>The low-price <a href=\"http://www.toneboosters.com/trackessentials\">TrackEssentials</i></a></strong>[[$softwareLogoMac]][[$softwareLogoWin]] bundle from well-respected software developer Jeroen Breebaart is a steal, including the likes of [[$software_ToneBoosters_TBEqualizer]], [[$software_ToneBoosters_TBDeEsser]], [[$software_ToneBoosters_TBFix]], [[$software_ToneBoosters_TBSibalance]] and [[$software_ToneBoosters_TBFerox]] (an updated version of his original classic <i>Ferox</i> tape-emulation). Check out the cool [[$software_ToneBoosters_TBFix]] dynamic EQ too.<br><br></li>\r\n\r\n<li><strong><a href=\"http://www.voxengo.com\">Voxengo</a></strong><br>As featured in my <a href=\"[[~26]]#freeware\">Freeware Top Ten</a>.<br><br></li>\r\n\r\n</ul>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"glossaries\">JARGON-BUSTING GLOSSARIES</a></h3>\r\n\r\n<ul>\r\n\r\n[[$glossariesList]]\r\n\r\n</ul>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"forums\">FORUMS &amp; NEWSGROUPS</a></h3>\r\n\r\n<ul>\r\n\r\n<li><strong><a href=\"http://www.gearslutz.com\">Gearslutz</a></strong><br>A good deal of pro-level chat and some great Q&A forums with high-profile producers. Plus, there\'s now a dedicated <a href=\"http://www.gearslutz.com/board/newbie-audio-engineering-production-question-zone-trial-beta-forum\">newbies area</a>.<br><br></li>\r\n\r\n<li><strong><a href=\"http://www.homerecording.com\">Home Recording</a></strong><br>Another active forum, with a dedicated <a href=\"http://homerecording.com/bbs/general-discussions/newbies\">newbie zone</a>.<br><br></li>\r\n\r\n<li><strong><a href=\"http://groups.google.com/group/rec.audio.pro/topics\">Rec.Audio.Pro</a></strong><br>Masses of archive material here, much of it deeply techy.<br><br></li>\r\n\r\n<li><strong><a href=\"http://recording.org\">Recording.Org</a></strong><br><br></li>\r\n\r\n<li><strong><a href=\"http://www.soundonsound.com/forum\">Sound On Sound</a></strong><br>A very active forum which includes regular contributions from Sound On Sound magazine\'s staff and contributors.<br><br></li>\r\n\r\n<li><strong><a href=\"http://mixoff.org\">MixOff.Org</a> &amp; <a href=\"http://indierecordingdepot.com\">Indie Recording Depot</a></strong><br>If you\'ve already exhausted the <a href=\"[[~373]]\">\'Mixing Secrets\' Free Multitrack Download Library</a> and its dedicated <a href=\"http://discussion.cambridge-mt.com/forumdisplay.php?fid=184\">Discussion Zone</a>, here are a couple of other places where you can download multitracks, upload mixes, and swap feedback.<br><br></li>\r\n\r\n</ul>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"interviews\">INTERVIEWS WITH PRODUCERS &amp; ENGINEERS</a></h3>\r\n\r\n<p>Here are some of the best free on-line magazine interview archives on the net:</p>\r\n\r\n<ul>\r\n\r\n<li><strong><a href=\"http://www.soundonsound.com/articles/People.php\">Sound On Sound Magazine Article Archive</a></strong><br>Includes all the magazine\'s articles since about 1996, although you have to be a subscriber to view any articles published within the last six months. (If you can\'t wait to read something that recent, bear in mind that a <a href=\"http://www.soundonsound.com/shop/Dept.php?DeptID=1\">three-month e-subscription</a> costs very little.)<br><br></li>\r\n\r\n<li><strong><a href=\"http://www.tapeop.com/\">Tape Op Magazine Article Archive</a></strong><br>Another massive collection of on-line articles, although much of it only accessible if you sign up for an (excellent value!) online subscription.<br><br></li>\r\n\r\n<li><strong><a href=\"http://www.mixonline.com\">Mix Magazine Article Archive</a></strong><br>Another good collection of on-line articles, although a little difficult to navigate through.<br><br></li>\r\n\r\n<li><strong><a href=\"http://www.gearslutz.com/board/expert-question-answer-archives/\">Gearslutz Expert Q&A Archive</a></strong><br>Preserved for posterity here are Q&A sessions Gearslutz carried out on their forum with a couple of dozen big names. Although these aren\'t as focused as published interviews, they\'re nonetheless very revealing, and provide insights into the working methods of some engineers it\'s difficult to find out about from elsewhere (such as Mike Shipley and Russ Elevado).<br><br></li>\r\n\r\n</ul>\r\n\r\n<p>Video interviews are also becoming an increasingly valuable resource. Here are some freeware recommendations:</p>\r\n\r\n<ul>\r\n\r\n<li><strong><a href=\"http://www.recordproduction.com/record-producers.htm\">RecordProduction.com Video Archive</a></strong><br>A fabulous collection of more than 300 interview videos with dozens of world-famous names.<br><br></li>\r\n\r\n<li><strong><a href=\"http://www.waves.com/content.aspx?id=5865\">Waves Video Archive</a></strong><br>Despite the ostensible focus on Waves products, these interviews are also of general interest, and feature leading lights such as Manny Marroquin, Tony Maserati, Dave Pensado, JJ Puig, and Chris Lord-Alge.<br><br></li>\r\n\r\n<li><strong><a href=\"http://www.artandscienceofsound.com\">Art &amp; Science Of Sound Recording</a></strong><br>There are a few free video interviews available here, and the payware video downloads also feature some good interview footage too, amidst the general tutorial content.<br><br></li>\r\n\r\n<li><strong><a href=\"http://www.gearslutz.com/board/video-vault/191111-video-vault.html\">Gearslutz Video Links Page</a></strong><br>There are some reasonable interviews with producers here, but they\'re scattered amongst links to many other more general-purpose studio-related videos, so you have to sift a little.<br><br></li>\r\n\r\n<li><strong><a href=\"http://www.pensadosplace.tv/\">Pensado\'s Place</a></strong><br>A cable TV show presented by world-renowned mix engineer <a href=\"https://en.wikipedia.org/wiki/Dave_Pensado\">Dave \'Hard Drive\' Pensado</a>, featuring candid interviews with many current A-list engineers.<br><br></li>\r\n\r\n</ul>\r\n\r\n<p>In addition to these free information sources, there are also a number of interview resources that I\'d highly recommend:</p>\r\n\r\n<ul>\r\n\r\n<li><strong>Howard Massey\'s <i>Behind The Glass</i> <a href=\"http://www.amazon.com/Behind-Glass-Record-Producers-Softcover/dp/0879306149\">Volume 1</a> &amp; <a href=\"http://www.amazon.com/Behind-Glass-II-Producers-Craft/dp/0879309555\">Volume 2</a></strong><br>Probably the best books of collected technical interviews out there, in my opinion. What\'s particularly good is that Massey often asks the same questions of several different producers, and the differences in their responses are fascinating.<br><br></li>\r\n\r\n<li><strong>Maureen Droney\'s <a href=\"http://www.amazon.com/Mix-Masters-Platinum-Engineers-Secrets/dp/087639019X\"><i>Mix Masters</i></a></strong><br>Although some of this material is also available from the <a href=\"http://www.mixonline.com\">Mix Magazine Article Archive</a>, it\'s nevertheless a great collection of interviews.<br><br></li>\r\n\r\n<li><strong>Rick Clark\'s <a href=\"http://www.amazon.com/Mixing-Recording-Producing-Techniques-Pros/dp/1598638408\"><i>Mixing, Recording, &amp; Producing Techniques Of The Pros</i></a></strong><br>Lots of good straight-from-the-horse\'s-mouth material.<br><br></li>\r\n\r\n<li><strong>Bobby Owsinski\'s <a href=\"http://www.amazon.com/Mixing-Engineers-Handbook-Bobby-Owsinski/dp/128542087X/ref=dp_ob_image_bk\"><i>Mixing Engineer\'s Handbook</i>\r\n</a> &amp; <a href=\"http://www.amazon.com/Recording-Engineers-Handbook-Bobby-Owsinski/dp/1285442016/ref=pd_sim_14_1?ie=UTF8&refRID=1Q75QMZZD4ZWYY3DWT6M\"><i>Recording Engineer\'s Handbook</i></a></strong><br>The mix-engineer interviews in the second half of the book are worth the entry fee on their own.<br><br></li>\r\n\r\n</ul>',1,6,30,1,1,1,1425477407,1,1485938019,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'ms-links.htm',0,0,1,NULL),(426,'document','text/html','BannerArchive_LMP','','','url-stillwellaudio-therocket','',0,0,0,550,1,'','http://www.stillwellaudio.com/plugins/rocket-compressor',1,1,1,1,1,1,1435645329,1,1477381096,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'url-stillwellaudio-therocket/',0,0,1,'{\"core\":{\"responseCode\":\"HTTP\\/1.1 301 Moved Permanently\"}}'),(28,'document','text/html','Templates_Aggregators','','','disczone','',0,0,0,623,1,'','http://discussion.cambridge-mt.com/portal.php',1,3,0,1,1,1,1425540186,1,1426148439,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'disczone/',0,0,1,NULL),(29,'document','text/html','MSFTSS_BookMain','Mixing Secrets For The Small Studio','','MixingSecrets','',1,0,0,23,0,'<p><strong><a href=\"http://www.soundonsound.com\"><i>Sound On Sound</i></a> magazine\'s mix specialist <a href=\"[[~376]]\">Mike Senior</a> shows you how to achieve release-quality mixes even in the smallest studios, by applying power-user techniques from the world\'s most successful producers.</strong></p>\r\n\r\n<p><strong>Mixing Secrets For The Small Studio</strong> is a down-to-earth primer for small-studio enthusiasts who want chart-ready sonics in a hurry. Drawing on the back-room strategies of more than 100 famous names, this entertaining guide leads you <a href=\"[[~30]]\">step-by-step through the entire mixing process</a>. On the way, you\'ll unravel the mysteries of every type of mix processing, from simple EQ and compression through to advanced spectral dynamics and \'fairy dust\' effects. User-friendly explanations introduce technical concepts on a strictly need-to-know basis, while chapter summaries, assignments, and <a href=\"[[~22]]\">extensive on-line resources</a> are perfect for school and college use.</p>','<ul>\r\n\r\n<li>Learn the subtle editing, arrangement, and monitoring tactics which give industry insiders their competitive edge, and master the psychological tricks which protect you from all the biggest rookie mistakes.<br><br></li>\r\n\r\n<li>Find out where you <i>don\'t</i> need to spend money, as well as how to make a limited budget really count.<br><br></li>\r\n\r\n<li>Pick up tricks and tips from leading-edge engineers working on today\'s multi-platinum hits, including <a href=\"http://en.wikipedia.org/wiki/Michael_Brauer\">Michael Brauer</a>, <a href=\"http://en.wikipedia.org/wiki/Serban_Ghenea\">Serban Ghenea</a>, <a href=\"http://en.wikipedia.org/wiki/Chris_Lord-Alge\">Chris Lord-Alge</a>, <a href=\"http://en.wikipedia.org/wiki/Tom_Lord-Alge\">Tom Lord-Alge</a>, <a href=\"http://en.wikipedia.org/wiki/Tony_Maserati\">Tony Maserati</a>, <a href=\"http://en.wikipedia.org/wiki/Manny_Marroquin\">Manny Marroquin</a>, <a href=\"https://en.wikipedia.org/wiki/Dave_Pensado\">Dave \'Hard Drive\' Pensado</a>, <a href=\"http://en.wikipedia.org/wiki/Jack_Joseph_Puig\">Jack Joseph Puig</a>, <a href=\"http://en.wikipedia.org/wiki/Spike_Stent\">Mark \'Spike\' Stent</a>, <a href=\"http://en.wikipedia.org/wiki/Phil_Tan\">Phil Tan</a>, <a href=\"http://en.wikipedia.org/wiki/Andy_Wallace_(producer)\">Andy Wallace</a>, and many, many more...<br><br></li>\r\n\r\n</ul>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a href=\"[[~421]]\">Read reviews...</a></h3>\r\n\r\n<dl>\r\n\r\n<dt><a href=\"http://www.soundonsound.com/sos/jun11/articles/mixing-secrets.htm\"><img src=\"[[$sitePrefixCMT]]SitePix/LogoSOSSmall.gif\" alt=\"Visit Sound On Sound\"></a><img alt=\"\" src=\"[[$sitePrefixCMT]]SitePix/Spacer21px.jpg\"><strong>\"A definite must-read for everyone involved in music production at any level.\"</strong></dt>\r\n\r\n<dt><a href=\"http://www.tapeop.com/reviews/91/mixing-secrets-for-the-small-studio-book\"><img src=\"[[$sitePrefixCMT]]SitePix/LogoTapeOpSmall.jpg\" alt=\"Visit Tape Op\"></a><img alt=\"\" src=\"[[$sitePrefixCMT]]SitePix/Spacer21px.jpg\"><strong>\"This book is gold... may bump your work forward by months or years.\"</strong></dt>\r\n\r\n<dt><a href=\"http://www.musicconnection.com\"><img src=\"[[$sitePrefixCMT]]SitePix/LogoMusicConnectionSmall.jpg\" alt=\"Visit Music Connection\" height=\"17\"></a><img alt=\"\" src=\"[[$sitePrefixCMT]]SitePix/Spacer21px.jpg\"><strong>\"A huge must-have... I cannot recommend it more.\"</strong></dt>\r\n\r\n<dt><a href=\"http://www.guitarworld.com\"><img src=\"[[$sitePrefixCMT]]SitePix/LogoGuitarWorldSmall.jpg\" alt=\"Visit Guitar World\" height=\"17\"></a><img alt=\"\" src=\"[[$sitePrefixCMT]]SitePix/Spacer21px.jpg\"><strong>\"Highly recommended.. the book is filled with so much great stuff.\"</strong></dt>\r\n\r\n<dt><a href=\"http://www.amazon.com/Mixing-Secrets-Small-Studio-Senior/product-reviews/0240815807/ref=cm_cr_pr_viewopt_srt?ie=UTF8&showViewpoints=1&sortBy=helpful&reviewerType=all_reviews&formatType=all_formats&filterByStar=all_stars&pageNumber=1\"><img src=\"[[$sitePrefixCMT]]SitePix/LogoAmazonUSSmall.jpg\" alt=\"Visit Amazon\"></a><img alt=\"\" src=\"[[$sitePrefixCMT]]SitePix/Spacer21px.jpg\"><strong>Amazon reader reviews:</strong></dt>\r\n\r\n<dd><img height=\"21\" alt=\"Amazon Five-star Review\" src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"><strong>\"Fantastic book on audio mixing.\"</strong><img alt=\"Amazon Top 500 Reviewer\" src=\"[[$sitePrefixCMT]]SitePix/AmazonTop500.jpg\"></dd>\r\n\r\n<dd><img height=\"21\" alt=\"Amazon Five-star Review\" src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"><strong>\"Outstanding... this book is dynamite.\"</strong><img alt=\"Amazon Top 500 Reviewer\" src=\"[[$sitePrefixCMT]]SitePix/AmazonTop500.jpg\"></dd>\r\n\r\n<dd><img height=\"21\" alt=\"Amazon Five-star Review\" src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"><strong>\"The Bible for small recording studios.\"</strong><img alt=\"Amazon Top 1000 Reviewer\" src=\"[[$sitePrefixCMT]]SitePix/AmazonTop1000.jpg\"></dd>\r\n\r\n<dd><img height=\"21\" alt=\"Amazon Five-star Review\" src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"><strong>\"Best resource on mixing, hands down.\"</strong></dd>\r\n\r\n<dd><img height=\"21\" alt=\"Amazon Five-star Review\" src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"><strong>\"The mixing education I\'ve been searching for.\"</strong><br><br></dd>\r\n\r\n</dl>\r\n\r\n\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a href=\"[[~22]]\">Free On-line Resources</a></h3>\r\n\r\n<p>Demonstration Files, Practice Multitracks, Studio Best-buys...</p>\r\n\r\n\r\n\r\n<p>The book\'s extensive accompanying <a href=\"[[~22]]\">on-line resource pages</a> provide hundreds of in-depth audio demonstration files, the unrivalled <a href=\"[[~373]]\">\'Mixing Secrets\' Free Multitrack Download Library</a> for mixing practice, detailed budget-friendly hardware/software recommendations (including the <a href=\"[[~26]]#freeware\">Mixing Secrets Freeware Top Ten</a>), and lots of links to further reading.<br><br></p>\r\n\r\n<p><strong>About The Author:</strong><br>\r\n\r\n<a href=\"[[~376]]\">Mike Senior</a> is a professional engineer who has worked with Wet Wet Wet, The Charlatans, Reef, Therapy, and Nigel Kennedy. He specialises in adapting the techniques of top producers for those working on a budget. Since 2007 he has transformed dozens of amateur productions for <a href=\"http://www.soundonsound.com\"><i>Sound On Sound</i></a> magazine\'s popular \'<a href=\"[[~376]]#MixRescue\">Mix Rescue</a>\' column, proving time and again that you can achieve commercial-grade results with affordable gear &mdash; once you know how!</p>\r\n\r\n    </td>\r\n  </tr>\r\n</table>\r\n\r\n[[$MSFTSSPressAndSalesInfo]]',1,6,0,1,1,1,1425540587,1,1458395241,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'MixingSecrets.htm',0,0,1,NULL),(372,'document','text/html','SSSN_MailingList','Join the \'Small-studio Secrets News\' mailing list!','','SmallStudioSecretsNewsList','',1,0,0,626,0,'<p>This site includes a huge range of free <a href=\"[[~22]]\">mixing</a> and <a href=\"[[~369]]\">recording</a> resources to support <a href=\"[[~376]]\">Mike Senior</a>\'s books <a href=\"[[~29]]\">Mixing Secrets For The Small Studio</a> and <a href=\"[[~370]]\">Recording Secrets For The Small Studio</a>, and these continue to grow as we add new uploads to the multitrack and mic-position libraries, extra audio examples, additional plug-in/article links, and more. If you\'d like to stay up to date with the latest changes, then just sign up using the form below. We\'ll only mail you when new free resources become available (typically once per month), and your email address will not be used for any other purpose or passed on to anyone else. We hate spam as much as anyone! If you have any problems subscribing/unsubscribing, then just <a href=\"[[~420]]\">drop us a line</a>.</p>\r\n\r\n<HR><FORM ACTION=\"http://kundenserver.de/cgi-bin/mailinglist.cgi\" METHOD=\"POST\" TARGET=\"_BLANK\"><INPUT CHECKED NAME=\"subscribe_r\" TYPE=\"RADIO\" VALUE=\"subscribe\">Please subscribe me to the \'Small-studio Secrets News\' mailing list.\r\n<BR><INPUT NAME=\"subscribe_r\" TYPE=\"RADIO\" VALUE=\"unsubscribe\">\r\nI no longer wish to receive mails, so please remove my address from the list.\r\n<BR>\r\nEnter your e-mail address:\r\n<BR><INPUT MAXLENGTH=\"51\" NAME=\"mailaccount_r\" SIZE=\"51\" TYPE=\"text\"><BR>\r\nPlease confirm your e-mail address:\r\n<BR><INPUT MAXLENGTH=\"51\" NAME=\"mailaccount2_r\" SIZE=\"51\" TYPE=\"text\"><BR><INPUT TYPE=\"SUBMIT\" VALUE=\"Send\"><INPUT TYPE=\"RESET\" VALUE=\"Reset\"><HR><INPUT NAME=\"FBMLNAME\" TYPE=\"HIDDEN\" VALUE=\"mixingsecretsnews@cambridge-mt.com\"><INPUT NAME=\"FBLANG\" TYPE=\"HIDDEN\" VALUE=\"en\"><INPUT NAME=\"FBURLERROR_L\" TYPE=\"HIDDEN\" VALUE=\"http://kundenserver.de/mailinglist/error.en.html\"><INPUT NAME=\"FBURLSUBSCRIBE_L\" TYPE=\"HIDDEN\" VALUE=\"http://kundenserver.de/mailinglist/subscribe.en.html\"><INPUT NAME=\"FBURLUNSUBSCRIBE_L\" TYPE=\"HIDDEN\" VALUE=\"http://kundenserver.de/mailinglist/unsubscribe.en.html\"><INPUT NAME=\"FBURLINVALID_L\" TYPE=\"HIDDEN\" VALUE=\"http://kundenserver.de/mailinglist/invalid.en.html\"></FORM>','',1,6,5,1,1,1,1433067584,1,1458382475,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'SmallStudioSecretsNewsList.htm',0,0,1,NULL),(58,'document','text/html','Candy','','','candy','',1,0,0,55,0,'','',1,8,1,1,1,1,1426073978,1,1426168210,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'candy.htm',0,0,1,NULL),(59,'document','text/html','Don\'t You Worry Child','','','dont-you-worry-child','',1,0,0,55,0,'','',1,8,0,1,1,1,1426073978,1,1426168202,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'dont-you-worry-child.htm',0,0,1,NULL),(61,'document','text/html','June 2013','','','june-2013','',1,0,0,31,1,'','',1,7,46,1,1,1,1426074233,1,1426074264,0,0,0,1426074264,1,'',0,0,0,0,0,'modDocument','web',1,'june-2013/',0,0,1,NULL),(62,'document','text/html','Hall Of Fame','','','hall-of-fame','',1,0,0,61,0,'','',1,8,1,1,1,1,1426074233,1,1426168367,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'hall-of-fame.htm',0,0,1,NULL),(63,'document','text/html','Skyfall','','','skyfall','',1,0,0,61,0,'','',1,8,0,1,1,1,1426074233,1,1426168359,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'skyfall.htm',0,0,1,NULL),