By David Gibson, George Petersen

In explaining the classy facet of what makes a good combine, he introduces a framework that can assist you comprehend every thing that an engineer does. when you be aware of what will be performed, you will have the ability to be really artistic all by yourself.

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In sculpture, the artist deals with shaping the images in a threedimensional space. In photography and painting, the artist deals with color tones and the way they relate to each other. In construction, the carpenter deals with first building a strong foundation. In Feng Shui, the consultant deals with placement of elements in a 3D space. Here we are dealing with the Feng Shui of mixing. Visual 47. Interesting EQ (see color Visual 47C) . . and sparse vs. full (wall of sound) mixes with effects.

Some sound storers can be used to edit the sound while it is stored. Visual 51. Sound Creators Sound routers route sound from one place to another. Mixing boards route the signal to four places: the multitrack, the monitor speakers, cue headphones (for the band out in the studio), and the effects (so we can have a good time). Patchbays are just the back of everything in the studio—the back of the mic panels, the back of the multitrack (inputs/ outputs), the back of the console (ins/outs), and the back of the effects (ins/outs)—located next to each other so we can use short cable to connect them.

Delay Longer Than 30ms 15 Chapter Two We can also move it up or down a little bit with more treble or bass EQ. Visual 30. Fattening Panned 11:00-1:00 Visual 34. Fattening With High-Frequency EQ Boost Visual 31. Fattening Panned 10:00-2:00 We can also bring this line of sound up front by turning the volume up . . Visual 35. Fattening With Low-Frequency EQ Boost Size as a Function of Reverb Placing reverb in a mix is like placing the sound of a room in the space between the speakers. A room, being three-dimensional, is shown as a 3D, seethrough cube between the speakers.

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