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Books on the topic 'Mixing Audio'

Author: Grafiati

Published: 10 September 2021

Last updated: 1 February 2022

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1

Izhaki, Roey. Mixing Audio. Routledge, 2017. http://dx.doi.org/10.4324/9781315716947.

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2

Mixing audio: Concepts, practices and tools. 2nd ed. Focal Press, 2012.

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3

Izhaki, Roey. Mixing Audio: Concepts, Practices and Tools. Elsevier, 2007.

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4

Christian, Deinhardt, ed. Cubase SX/SL, mixing & mastering. Amsco, 2003.

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5

Hepworth, Matthew Loel T. Mixing and mastering with Cubase. Hal Leonard Books, 2012.

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6

Mixing in Pro Tools: Skill pack. 2nd ed. Course Technology, 2010.

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7

Lorbecki, Glenn. Mixing and mastering with Pro Tools. Hal Leonard Books, 2011.

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8

Pro tools surround sound mixing. 2nd ed. Hal Leonard Books, 2011.

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9

Lorbecki, Glenn. Mixing and mastering in Pro Tools 9. Hal Leonard Books, 2011.

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10

Collins, Mike. Pro Tools 9: Music production, recording, editing, and mixing. Focal Press, 2011.

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11

Perrine, Jake. Sound design, mixing, and mastering with Ableton Live 8. Hal Leonard Books, 2012.

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12

Audio mixing boot camp: Hands-on basic training for musicians. Alfred Music Pub. Co., 2011.

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13

Pro Tools 8: Music production, recording, editing and mixing. Focal Press, 2009.

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14

Pro Tools 9: Music production, recording, editing, and mixing. Focal Press, 2011.

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15

Wood, Barry. Waves plug-ins workshop: Mixing by the bundle. Course Technology, 2011.

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16

Roberts, David E. Digital Performer for engineers and producers: Music production, mixing, film scoring, and live performance. Hal Leonard Books, 2013.

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17

Collins, Mike. Pro Tools for music production: Recording, editing and mixing. 2nd ed. Focal, 2004.

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18

Izhaki, Roey. Mixing Audio. Routledge, 2013. http://dx.doi.org/10.4324/9780240525891.

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19

Izhaki, Roey. Mixing Audio. Routledge, 2013. http://dx.doi.org/10.4324/9780080556154.

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20

Mixing Audio: Concepts, Practices and Tools. Focal Press, 2008.

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21

Mixing Audio: Concepts, Practices and Tools. Taylor & Francis Group, 2017.

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22

Mixing Audio: Concepts, Practices, and Tools. Routledge, 2017.

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23

Anderton, Craig. Sonar 3: Mixing & Mastering. Wizoo, 2004.

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24

Kuehnl, Eric, and Miles Fulwider. Surround Mixing and Immersive Audio Featuring Dolby Atmos. Rowman & Littlefield Publishers, Incorporated, 2021.

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25

Swallow, Dave. Live Audio: The Art of Mixing a Show. Routledge, 2012. http://dx.doi.org/10.4324/9780240816050.

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26

Pro Tools Surround Sound Mixing. Backbeat Books, 2005.

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27

Smithers, Brian. Mixing in Pro Tools - Skillpack (Skill Pack). Thomson Course Technology, 2006.

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28

Mixing And Mastering With Pro Tools 11. Hal Leonard Corporation, 2014.

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29

Fois, Alessandro. Manuale Di Audio Mixing Digitale: Missaggio Professionale per Home Studio. Independently Published, 2018.

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30

Boonstra, Gregg J. Mixing Live Sound: An Application Guide for the Audio Technician. CreateSpace Independent Publishing Platform, 2014.

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31

The S.M.A.R.T. Guide to Mixing And Mastering Audio Recordings (S.M.A.R.T. Guide To...). Thomson Course Technology, 2005.

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32

Alexander, Peter Lawrence. Emagic 4.5 and Beyond: From Sequencing to Digital Audio Recording and Mixing. Alexander University, 2003.

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33

Sound Design Mixing And Mastering With Ableton Live 9. Hal Leonard Corporation, 2014.

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34

Moulton, David. David Moulton's Audio Lecture Series: Stereo Miking, Stereo Mixing, Reverberation (Playback Platinum Series). Music Maker Pubns, 2003.

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35

Pro Tools 11 Music Production Recording Editing And Mixing. Taylor & Francis Ltd, 2013.

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36

Pro Tools for Music Production: Recording, Editing and Mixing. 2nd ed. Focal Press, 2004.

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37

Savage, Steve. Mixing and mastering in the box: The guide to making great mixes and final masters on your computer. 2014.

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38

Bell, Adam Patrick. Dawn of the DAW. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190296605.001.0001.

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Abstract:

Dawn of the DAW tells the story of how the dividing line between the traditional roles of musicians and recording studio personnel (producers, recording engineers, mixing engineers, technicians, etc.) has eroded throughout the latter half of the twentieth century to the present. Whereas those equally adept in music and technology such as Les Paul were exceptions to their eras, the millennial music-maker is ensconced in a world in which the symbiosis of music and technology is commonplace. As audio production skills such as recording, editing, and mixing are increasingly co-opted by musicians teaching themselves in their do-it-yourself (DIY) recording studios, conventions of how music production is taught and practiced are remixed to reflect this reality. Divided into three parts, part I first examines DIY recording practices within the context of recording history from the late nineteenth century to the present. Second, part I discusses the concept of the studio as musical instrument, and the evolving role of the producer. Part II details current practices of DIY recording—how recording technologies are incorporated into music-making, and also how they are learned by DIY studio users in the musically-chic borough of Brooklyn. Part III examines the broader trends heard throughout the stories presented in part II, summarizing the different models of learning and approaches to music-making. Dawn of the DAW concludes by discussing the ramifications of these new directions for music educators.

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39

Xiao, Ying. China in the Mix. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496812605.001.0001.

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Abstract:

Scarce attention has been paid to the dimension of sound and its essential role in constructing image, culture, and identity in Chinese film and media. China in the Mix fills a critical void with an original, pioneering study of the connections and intersections of film, media, music, and popular culture in contemporary China under postsocialist reform, capitalist globalization, and hybridization. It explores fascinating topics, including appropriations of popular folklore in the Chinese new wave of the 1980s; Chinese rock ’n’ roll and youth cinema in fin de siècle China; the political-economic impact of free market imperatives and Hollywood pictures on Chinese film industry and filmmaking in the late twentieth century; the reception and adaptation of hip hop; and the emerging role of Internet popular culture and social media in the early twenty-first century. This book examines the articulations and representations of mass culture and everyday life, concentrating on their aural/oral manifestations in contemporary Chinese cinema and in a wide spectrum of media and cultural productions. The research offers the first comprehensive investigation of Chinese film, expressions, and culture from a unique, cohesive acoustic angle and through the prism of global media-cultural exchange. It shows how the complex, evolving uses of sound (popular music, voice-over, silence, noise, and audio mixing) in film and media reflect and engage the important cultural and socio-historical shifts in contemporary China and in the increasingly networked world.

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