52A Mixing 1

Class Description

Mixing and mastering multitrack recordings. EQ, compression, reverb, delays, tempo maps, Lo-Fi techniques, multi-band compression. Comparison and contrast of various styles of mixing including jazz, classical, country, rock, hip hop and electronica. Example exercises featuring professional recordings and mixes. Understanding and applying mixing concepts such as balance, dimension, and monitoring. Deliver final mixes that translate accurately to various speaker systems and listening environments.

Gain a greater understanding of two key elements of production by learning the latest approaches to mixing and mastering using Pro Tools. Essential knowledge for engineers, producers, or hobbyists who have their own home studio up and running, this course presents concepts that go beyond basic EQ and panning. Students will be exposed to more advanced mixing and mastering techniques including parallel compression, understanding reverb parameters as well as discussing compression techniques in mastering. You'll view demonstrations of engineers engaged in the processes, and by mixing and mastering Pro Tools sessions that are provided in the course, you will be able to hear, compare, and discuss the different mixes of your classmates.

By the end of this course you will have acquired a thorough understanding of the entire mixing and mastering process, information that you can apply to any mixing and mastering situation.

Music Tech Foundation have come together to offer an educational discount on the required software for the course: Ozone. Once you enroll in the course, you will be able to purchase this required software at a discounted price through the Required Course Materials link on your My Home page. Early enrollment is encouraged to ensure delivery prior to the start of the course.

Learning Objectives

At the end of this course you will be able to:

• Understand and know the process of mixing in Pro Tools
• Use EQ and Dynamics in a Pro Tools session
• Use Reverb and Acoustic Space in a Pro Tools session
• Use delay, chorus and flanging in a Pro Tools session
• Understand and know the process of automation and dynamic mixing with Pro Tools
• Understand and know the process of mastering with Pro Tools
• Use the iZotope's Ozone plug-in to master stereo mixes with Pro Tools
• Analyze the dynamic spectrum of a multitrack recording
• Operate a digital and/or analog mixing board to mix a multitrack master to stereo
• Explain the mixing styles of the recording industry in the 20th century
• Evaluate a stereo mix by applying modern (post 1990) standards of commercial mixing
• Create a stereo mix from a multitrack master
• Create a digital audio tape or compact disc master of a stereo mix
• Discuss how different cultures and musical styles approach the art of mixing

Course Outline

1. Intro to Mixing
2. Monitoring
3. Mix Prep
4. Mixing Strategies
5. Balance
6. Equalization
7. Effects
8. Dynamics
9. Mix Practice
10. Mastering
11. Final Project
12. Extra Credit Independent Studies

Foothill Legacy Course Outline

• Study and analysis of mixing and mastering styles since the advent of multitrack recording
  • Analog multitrack mastering styles from 4 track masters
  • Digital multitrack mastering styles using digital multitrack recorders
  • Computer based mastering styles using automated mixing
  • History of mixing and mixing aesthetics in the US, Europe, Latin America and Asia
• Planning and theory of multitrack masters
  • Balancing mixes for transparency and clarity
  • Masking and layering stacked tracks for sonic impact
  • Application of signal processing for lead delineation
  • Automation groups and master faders
• Creation and production of CD and DVD-Audio masters
  • Red book numbering and headroom protocols
  • Test tones and equalization requirements for mass production facilities
  • Numbering and alignment of tracks for mastering

Special Facilities and/or Equipment

A. When taught on campus:

• Classroom with Pro Tools HD TDM recording system and 16 channel 192 interface
• Digital control surface
• 10 condenser microphones with stands, clips and cables
• 10 dynamic microphones with stands, clips and cables
• All Avid distributed plug-ins
• Apple Macintosh Mac Pro with at least 8Gb of RAM and 24 inch monitor
• Active near field monitors

B. When taught via Foothill Global Access:

• On-going access to computer with Email software and capabilities
• Email address
• Java-script enabled internet browsing software

Methods of Evaluation

• Written assignments that analyze, compare and contrast mixing theory and aesthetics from all cultures and musical styles.
• Designing and assembling a digital master that demonstrates an understanding of mixing theory.
• Tests on mixing and mastering theory.

Method of Instruction

• Lecture presentations that demonstrate theories and techniques used by professional audio mixing and mastering engineers.
• Classroom discussions that address the history and evolution of audio post production, mixing and mastering for broadcast quality distribution.
• Group presentations followed by in-class discussion and evaluation.

Lab Content

• Lab content includes topics such as microphone selection and placement, gain settings, monitor system setup, amplification calculations based on room size, etc.
• Other items may include subjects such as number of plug ins per insert track, bus assignments for efficient recording operation, and mastering compression settings.

Required Reading, Writing and Outside of Class Assignments

• PureMixPro Subscription
• LinkedIn Learning
  • Available free through public libraries
• Digital Audio Workstation (DAW) software
• No other equipment or software required
• No required textbook
• Written critiques and analyses of audio production projects including albums, soundtracks, television, video games and Internet multi-media.
• Written summaries documenting technical and artistic elements for corresponding submitted assignments and audio projects.
• Written proposals, session logs, learning outcomes and reflections supporting submitted musical works and final master recordings