A mixing engineer is the person responsible for combining ("mixing") different sonic elements of a piece of recorded music (vocals, instruments, effects etc.) to the final version of a song (also known as "mix end" or "mixdown"). He mixes the elements of the parts recorded together to achieve a good volume balance, while at the same time deciding other properties such as pan position, effects, and so on.
The best mixing professionals usually have years of experience and training with audio equipment, which has enabled them to master their skills. A mixing engineer occupies a space between artists and scientists, using their skills in assessing harmonious sound structures to enable them to create a very attractive color pattern. Their work is found in all modern music, but many artists are now incorporating and producing their own music with digital audio workstations and computers.
A more technical definition: audio engineers in sound recording, audio editing, and sound systems that balance the relative volume and frequency content of a number of sound sources. Typically, this sound source is a different musical instrument in a band or vocalist, part of the orchestra and so on.
Video Mixing engineer
Education
Mixing Engineers are sometimes formally trained in music background, and some have degrees in audio engineering or engineering recording *. A degree in music can help and extend engineer credentials, although it is known that most of the experience comes from the operation of complex audio equipment. Ear blending comes from years of observing all types of sounds, frequencies, and variations of effects and filters, through trial and error processes.
Maps Mixing engineer
Technique
The mixing engineers rely on their intuition in the mixing process, but all mixers generally follow certain basic procedures:
- Analyze the "flow" of the client artist, or "style"
- Find the most important elements (tracks or track combinations) to emphasize
- Finding out how to emphasize a track often means not highlighting other tracks
- Refine the final mix
Balancing the mixture
Mixers are given songs to do. They appear well after the artist or musician sessions are finished recording, and only have this audio to work with. Their task consists of balancing the relative impact of each audio stream, by placing them through an effect processor, and having the right amount (dry/wet ratio) of each.
- Equality-The main tool of a mixing engineer is the mixing console, which changes the relationship of each audio frequency, to another, to increase or bypass a certain frequency range within a track, giving each space within the limited frequency range available from 20-20,000 Hz, in particular, between ~ 400-8000 Hz, the most sensitive human hearing range. Removing the opposing frequencies from 250-800 Hz is essential, where interference and construction between sounds can create disturbing, unpleasant effects, called "mud". Pieces in this area can help with artificial sound brightness. By increasing the frequency below this range, one can give them a more complete or deeper voice. On top of this, the impulse can vote, but only if they do not overlap with the higher sound of higher harmonics. A properly placed Q value filter will allow surgical changes, which are required in the human vocal range (~ 300-3000 Hz), a boost of 1 dB here equals to a loudness to a 5-6 dB boost in the relative extremity. The key in removing the mud is to make a proper push higher, to replace the brightness lost while cutting the frequency together. Spectrum analyzers can help in viewing a harmonious sound structure. Each mixer approaches the challenge of equalizing differently, because everyone has a slightly different perception of psycho-sound sound, and different levels of physical hearing loss.
- Compression of dynamic range - Compression reduces range between lowest low and highest signal. The threshold controls how much of the top is truncated. By adjusting the attack and release settings, and having the right ratio, one can provide more attendance, but too much compression will destroy a fun path. By setting the trigger to another audio source, called side-chaining, a higher level of compression, and even hard clipping to a very small level. It is often used in progressive music, but the effect is very artificial, really only good for one type of pumping, sound syncopation. The
- Panning- (L/R) setting deploys areas of sound, which can create space for missing sounds. The stereo playback will produce a slightly different frequency response from the signal, depending on the characteristics of the room echo. With modern technology, it is now often done artificially. This allows the creation of a new resonant body. Decay time and perceived size can be precisely controlled, combined with diffuse tissue control, pre-filtration, and chorus, allowing each resonator to be approached. Panning changes the relative gain of each stereo track, which can create a sonic space in a mix. Note that mixing can only occur after each track is set to the correct master track volume.
Tools
Some mixing equipment engineers may use:
- Analog-to-digital converter
- Digital audio work stations
- Digital-to-analog converter
- Dynamic Range Compression
- Microphone
- Mixing the console
- Subliminal
- Signal processor
- Ribbon machine
See also
- Audio techniques
- Audio Mixing
- Recording recorder
- Recording studio
- Voice recording
References
Source of the article : Wikipedia
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