306 Pages
    by Routledge

    306 Pages
    by Routledge

    This series, Perspectives On Music Production, collects detailed and experientially informed considerations of record production from a multitude of perspectives, by authors working in a wide array of academic, creative, and professional contexts. We solicit the perspectives of scholars of every disciplinary stripe, alongside recordists and recording musicians themselves, to provide a fully comprehensive analytic point-of-view on each component stage of record production. Each volume in the series thus focuses directly on a distinct aesthetic "moment" in a record’s production, from pre-production through recording (audio engineering), mixing and mastering to marketing and promotions. This first volume in the series, titled Mixing Music, focuses directly on the mixing process.

    This book includes:

    • References and citations to existing academic works; contributors draw new conclusions from their personal research, interviews, and experience.
    • Models innovative methodological approaches to studying music production.
    • Helps specify the term "record production," especially as it is currently used in the broader field of music production studies.

    Series Introduction


    About the Authors



    Chapter 1: Exploring of the Mix: Historical milestones and expanded perspectives- Martyn Phillips

    Chapter 2: How to Listen, What to Hear- William Moylan

    Chapter 3: Proxemic Interaction in Popular Music Recordings- Ruth Dockwray

    Chapter 4: Top Down Mixing - A 12-Step Mixing Programme- Phil Harding

    Chapter 5: Mixing in the Box- Justin Paterson

    Chapter 6: Audio Editing In/And Mixing- Alastair Sims and Jay Hodgson

    Chapter 7: Pre-Production In Mixing: Mixing in Pre-Production- Dylan Lauzon

    Chapter 8: Between Speakers: Discussions on Mixing- Dean Nelson

    Chapter 9: Mixing for Markets- Alex Krotz

    Chapter 10: Mixing In/And Modern Electronic Music Production- Andrew Devine and Jay Hodgson

    Chapter 11: Groove and the Grid: Mixing Contemporary Hip Hop- Matt Shelvock

    Chapter 12: The Mix is. The Mix is Not- Robert Wilsmore and Christopher Johnson

    Chapter 13: Mixing metaphors: aesthetics, mediation and the rhetoric of sound mixing- Mark Marrington

    Chapter 14: Mix as Auditory Response- Jay Hodgson

    Chapter 15: An Intelligent Systems Approach to Mixing Multitrack Audio- Josh Reiss

    Chapter 16: How Can Academic Practice Inform Mix-Craft?- Gary Bromham

    Chapter 17: The dreaded mix sign-off: handing over to mastering- Rob Toulson

    Chapter 18: Conclusion: Mixing as part-history, part-present and part-future- Russ Hepworth-Sawyer



    Russ Hepworth-Sawyer has been involved in professional audio for over two decades. Throughout his career, Russ has maintained a part time higher education role teaching and researching all things audio (www.hepworthhodgson.com). Russ is a former board member of the Music Producer’s Guild and helped form their Mastering Group. Russ currently lectures part time for York St John University and has taught extensively in higher education at institutions including Leeds College of Music, London College of Music and Rose Bruford College and has contributed sessions at Barnsley College. He has written for MusicTech Magazine, Pro Sound News Europe and Sound On Sound plus has written many titles for Focal Press/Routledge.

    Dr. Jay Hodgson is Associate Professor Music at Western University, where he primarily teaches courses on songwriting and project paradigm record production. He is also one of two mastering engineers at MOTTOsound — a boutique audio services house situated in England, and now Canada. In the last few years, Dr. Hodgson has worked on records nominated for Juno Awards, which topped Beatport’s global techno and house charts, and he has contributed music for films recognized by the likes of Rolling Stone Magazine, and which screened at the United Nations General Assembly. He was awarded a Governor General’s academic medal in 2006, primarily in recognition of his research on audio recording; and his second book, Understanding Records (2010), was recently acquired by the Reading Room & Library of the Rock and Roll Hall of Fame.