Unsurprisingly, when it comes to mixing, a lot of emphasis is placed on the less tangible elements of the process, and this is the book's greatest strength in my opinion. For a start, Stavrou structures his mixing sessions to separate left-brain and right-brain tasks, thus avoiding interruptions to the creative flow. He then goes on to suggest a variety of ways to get your subconscious mind working for you, and also reveals some unusual tactics for keeping your objectivity while making critical mix balancing decisions.
michael stavrou mixing with your mind pdf free
Mixing With Your Mind.pdfDownload File > then takes his album mixing exercise to a slightly larger sample, purely for the sake of being able to offer a few more comparisons. The whole thing is most enjoyable, as he enthuses about his top-of-the-range consoles and top-of-the-range monitors -- there's no doubting that he knows his gear. As readers, we benefit from his elation, since while his accounts of mixing techniques are certainly interesting in themselves, we also learn how he seeks to keep himself fresh and in the groove.It's most interesting, though, that his approach to working out the positioning of instruments accurately reflects its usage in recording, which uses a two-track approach. On the first track, for example, you record the song in its entirety onto the more important or critical track, with whatever mixtures or effects you require. The unimportant or less important track then becomes a sort of back-up, and it can hold sections that need tweaking.From what I've sampled, the approach works well, and Stavrou's examples include sections of Sly and the Family Stone's 'In the Light', the Beatles' 'One After 909' and Joe Cocker's 'Feeling Alright' (produced by Phil Spector) from their legendary 'Don't let it be forgot-ten' album. He suggests the familiar rearings on takes 1, 2, 3, 6, 7 etc., although he does also give a detailed account of the earlier rearings on the second track, which are less important. This is a good way to learn.Personally, I'm a fan of previewing, and learn very quickly that you can often save valuable mix adjustments by previewing. It pays to be sufficiently experienced to notice, though, as you get into the more intricate elements of miking, and a bounce or two upon a good decision limits your re-mixing to the 'one take' stage. a3f8a02ae1 2ff7e9595c
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