The Mastering Engineer's Handbook 4th Edition

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I do admire what can be done in Protools, but if there’s something that wrong, you should have done another take and maybe chop things together. All professional engineers have a little book in which they jot down those notes of fact, figures and formulae which they feel that they are likely to need on future occasions. Andy Johns needs no introduction because we’ve been listening to the music that he’s been involved in for most of our lives.

There are a few typos and the author says "that being said" quiet a bit, but those are minor quibbles. e. the distance of the microphones to the instruments should not be too close if you wanted to get anything with tremendous depth. you can't hear text, so you can't be convinced by the author's advices without taking a long time to try out everything (spoiler, I didn't so it's hard for me to evaluate the book).

By using the Web site, you confirm that you have read, understood, and agreed to be bound by the Terms and Conditions. You ended up being thrown right into the fire because someone was going to be late or couldn’t make it or was sick.

If you stare at meters long enough, which is what I did for the first 15 years, you find they don’t mean anything. But you know, I don’t care how close you think you’ve got it that night, you take it home and play it back in the morning and every time there are two or three things things that you must fix. With a shelf full of industry awards (seven Grammys, an Emmy, four Surround Music Awards, the Surround Pioneer and Tech Awards Hall Of Fame and too many total award nominations to count) from The Eagles, Steely Dan, Fleetwood Mac, Sting, John Fogerty, Van Morrison, Toto, Queen, Faith Hill, Lenny Kravitz, Natalie Cole, the Doobie Brothers, Aerosmith, Phil Collins, Aretha Franklin, Barbra Streisand and many, many others, Elliot has long been recognized for his pristine mixes. That’s a great example of an artist of Jimi’s stature starting from square one with a very difficult arrangement.The panning or “Wide†dimension achieved by placing a sound element in a sound field in such a way as to make a more interesting soundscape, and so that each element is heard more clearly.