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24 May 2018
In Mixing with Impact: Learning to Make Musical Choices, Wessel Oltheten discusses the creative and technical concepts behind making a mix. Whether you're a dance producer in your home studio, a live mixer in a club, or an engineer in a big studio, the mindset is largely the same.

The same goes for the questions you run into: where do you start? How do you deal with a context in which all the different parts affect each other? How do you avoid getting lost in technique? How do you direct your audience's attention? Why doesn't your mix sound as good as someone else's? How do you maintain your objectivity when you hear the same song a hundred times? How do your speakers affect your perception? What's the difference between one compressor and another?

Following a clear structure, this book covers these and many other questions, bringing you closer and closer to answering the most important question of all: how do you tell a story with sound?
By:   Wessel Oltheten (Utrecht University of the Arts Interface Magazine Spoor 14 studio)
Imprint:   Routledge
Country of Publication:   United Kingdom
Dimensions:   Height: 229mm,  Width: 152mm, 
Weight:   572g
ISBN:   9781138080898
ISBN 10:   1138080896
Pages:   352
Publication Date:   24 May 2018
Audience:   College/higher education ,  Professional and scholarly ,  Primary ,  Undergraduate
Format:   Paperback
Publisher's Status:   Active
Colophon Preface Travel guide for this book Chapter 1: The world of mixing 1.1 Who is the mixer? 1.2 Why is mixing necessary? 1.3 What is the challenge? 1.4 On rules Chapter 2: Listening 2.1 Perception 2.2 Your ear is a compressor 2.3 Your ear is an equalizer 2.4 Tuning in 2.5 A fixed reference 2.6 Taking professional care of your ears Chapter 3: Laying the foundation 3.1 Before you start 3.2 Foundation 3.3 Balance 3.4 Panning 3.5 Mute is your friend Chapter 4: The frequency spectrum 4.1 Association is key 4.2 Masking 4.3 The goal of EQ 4.4 EQ compass Chapter 5: Dynamics 5.1 Dynamics versus time 5.2 Technical and musical dynamics 5.3 Using compressors 5.4 Reducing masking with compression 5.5 Dynamics and loudness Chapter 6: Space 6.1 Hearing space and distance 6.2 Simulating space and distance 6.3 How reverb works 6.4 Using reverb 6.5 How delay works 6.6. Using delay Chapter 7: Time and phase 7.1 Interaction 7.2 Combining microphones hierarchically 7.3 Combining microphones non-hierarchically 7.4 Phase manipulation Chapter 8: Identity 8.1 Innovation, imitation and inspiration 8.2 Shaping identity Chapter 9: Effects 9.1 Distortion - simulating intensity 9.1.1 How it works 9.1.2 Distortion in a mix 9.2 Re-amping - providing context 9.2.1 How it works 9.2.2 Re-amping in a mix 9.3 Modulation - putting things in motion 9.3.1 How it works 9.3.2 Modulation in a mix 9.4 Pitch manipulation - creating what wasn't there 9.4.1 How it works 9.4.2 Pitch shifting in a mix 9.5 Triggering - cause and effect 9.5.1 How it works 9.5.2 Triggering in a mix 9.6 Spectral editing - unreal reality 9.6.1 How it works 9.6.2 Spectral processing in a mix Chapter 10: Automation 10.1 Faders for each function 10.2 Parallel constructions 10.3 Change and conquer 10.4 Expressivity Chapter 11: Advanced techniques 11.1 The floor: keeping low frequencies in check 11.2 The ceiling: creating clear mixes 11.3 Securing the house: dynamic interventions 11.4 The exterior walls: stereo processing 11.5 Beyond the exterior walls: 3D panning Chapter 12: Bus Compression 12.1 Influence 12.2 Choices and settings 12.3 Multibus setups: painting on a colored canvas Chapter 13: Templates 13.1 Time is money 13.2 Building templates 13.3 Integrating equipment in the 21st century Chapter 14: Preparing for mastering 14.1 Communication 14.2 What is a good mix? 14.3 Mixbus processing 14.4 Stems 14.5 Consequences of loudness normalization Chapter 15: Mindset 15.1 Doubt is fatal for a mix 15.2 Imposed limitations - working in a context 15.3 A guide for your mix 15.4 Ways to stay fresh Chapter 16: The outside world 16.1 Speaking the same language 16.2 Reference tracks 16.3 Feedback on the source material 16.4 Feedback on the mix: revisions 16.5 Working at a distance 16.6 Conclusion Chapter 17: Tools 17.1 Basic acoustics 17.1.1 Space 17.1.2 Optimization 17.2 Monitoring 17.3 Subwoofers 17.3.1 Why use a subwoofer? 17.3.2 Choosing a subwoofer 17.3.3 Installing and adjusting 17.4 Headphones 17.5 How EQ works and its side-effects 17.6 How compressors work and their side-effects Index

Wessel Oltheten has been recording and mixing music since his teens, which has led to a successful studio business with a very diverse clientele. To hear some of his work you can visit For extra articles and a video course accompanying this book, visit

Reviews for Mixing with Impact: Learning to Make Musical Choices

The usual topics of effects, compression, and EQ are covered but in more realistic, hands-on detail than most vague mixing guides usually are fluffed up with. Special attention is given early on to the importance of phase, space, and time and how all these interrelate. One of the best features of this book is that Wessel doesn't generally hand out specific names of hardware or plug-ins to use but instead educates the user about actual techniques, what type of gear will achieve the desired goals, and why it works. These are the fundamental building blocks of quality mixing; not some whiz-bang plug-in template that claims to always deliver perfect vocals or some such lie. Other topics include the practical realities of maintaining objectivity, working with others, and even serving the clients' needs as opposed to your own ego. Mixing with Impact is a perfect handbook for the mix engineer, and I find myself thumbing through it and nodding my head at all the truth within its pages. Larry Crane, Tape Op Magazine/Jackpot! Recording Studio All in all, then, Mixing With Impact's 350 pages are packed with useful ideas, up-to-date, well-marshalled information, and great conceptual explanations backed up with lots of useful diagrams. It should help anyone with an open mind, be they seasoned pros or aspiring engineers taking their first tentative steps into the world of mixing, to reflect on and improve their own way of working. Matt Houghton, Sound on Sound

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