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.
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