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Mixing Secrets for the Small Studio (Sound On Sound Presents...) 2nd Edition

by Mike Senior (Author)
4.7 4.7 out of 5 stars 1,455 ratings
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Mixing Secrets for the Small Studio (Sound On Sound Presents...)
Mixing Secrets for the Small Studio (Sound On Sound Presents...)
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Discover how to achieve release-quality mixes even in the smallest studios by applying power-user techniques from the world's most successful producers.

Mixing Secrets for the Small Studio is the best-selling primer for small-studio enthusiasts who want chart-ready sonics in a hurry. Drawing on the back-room strategies of more than 160 famous names, this entertaining and down-to-earth guide leads you step-by-step through the entire mixing process. On the way, you'll unravel the mysteries of every type of mix processing, from simple EQ and compression through to advanced spectral dynamics and "fairy dust" effects. User-friendly explanations introduce technical concepts on a strictly need-to-know basis, while chapter summaries and assignments are perfect for school and college use.

▪ Learn the subtle editing, arrangement, and monitoring tactics which give industry insiders their competitive edge, and master the psychological tricks which protect you from all the biggest rookie mistakes.

▪ Find out where you don't need to spend money, as well as how to make a limited budget really count.

▪ Pick up tricks and tips from leading-edge engineers working on today's multi-platinum hits, including Derek "MixedByAli" Ali, Michael Brauer, Dylan "3D" Dresdow, Tom Elmhirst, Serban Ghenea, Jacquire King, the Lord-Alge brothers, Tony Maserati, Manny Marroquin, Noah "50" Shebib, Mark "Spike" Stent, DJ Swivel, Phil Tan, Andy Wallace, Young Guru, and many, many more...

Now extensively expanded and updated, including new sections on mix-buss processing, mastering, and the latest advances in plug-in technology.

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Previous page
  1. ISBN-10
    1138556378
  2. ISBN-13
    978-1138556379
  3. Edition
    2nd
  4. Publisher
    Routledge
  5. Publication date
    August 16, 2018
  6. Part of series
    Sound On Sound Presents.
  7. Language
    English
  8. Dimensions
    7 x 0.75 x 9 inches
  9. Print length
    444 pages
  10. See all details
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Editorial Reviews

About the Author

Mike Senior is a professional engineer who has worked with Wet Wet Wet, The Charlatans, Reef, Therapy, and Nigel Kennedy. He specializes in adapting the techniques of top producers for those working in small studios and on a tight budget. He has transformed dozens of amateur productions for Sound On Sound magazine's popular "Mix Rescue" column, proving time and again that you can achieve commercial-grade results with affordable gear―once you know how!

Product details

  • Publisher ‏ : ‎ Routledge; 2nd edition (August 16, 2018)
  • Language ‏ : ‎ English
  • Paperback ‏ : ‎ 444 pages
  • ISBN-10 ‏ : ‎ 1138556378
  • ISBN-13 ‏ : ‎ 978-1138556379
  • Item Weight ‏ : ‎ 1.98 pounds
  • Dimensions ‏ : ‎ 7 x 0.75 x 9 inches
  • Customer Reviews:
    4.7 4.7 out of 5 stars 1,455 ratings

About the author

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Mike Senior

Mike Senior

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Mike Senior is an award-winning studio engineer who discovered his vocation while studying music at Cambridge University. Following stints at various London studios (RG Jones, West Side, Angell Sound), he became in-house engineer at Great Linford Manor, working with artists such as The Charlatans, Reef, Therapy, Nigel Kennedy, and Wet Wet Wet. For six years he was Reviews Editor for Sound On Sound, the world's best-selling music recording magazine, and now writes regularly for their 'Mix Rescue', 'Session Notes', and 'The Mix Review' columns.

Check out www.cambridge-mt.com for examples of Mike's work, as well as an extensive library of free recording and mixing resources.

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Top reviews from the United States

Charley Neill
5.0 out of 5 stars Working with one of my recordings
Reviewed in the United States on May 4, 2013
Verified Purchase
I have been using reason 6.5 recently, and have recorded several orginal works mainly for purposes of providing demos to musicians that I intend to perform the music with live. I never thought that I would produce music to hand to a listener for simple enjoyment of a good recording.

Recently I decided that I wanted to go to a pofessional studio to record something to distribute. I wanted to be able to talk with the engineer in his own language, so i decided to educate myself by reading up on the matter. After reading three different books, I stumbled across this one. I noticed that it had very high ratings from significantly more readers than the previous books. This book was an automated Amazon suggestion. I rented it. Started reading, and it sucked me in.

The only downfall to reading this book is that I'm a law student, and i really needed to be reading my law books. I let this book take me away!

Any way... Cut to the chase right?!
Each chapter gives an assignment, and I decided to actually do these assignments reading the book in order. This is very imoortant if you want to really gain from this book! I chose one of my songs, erased ever plugin and modificatn that I had previously made and went to work using mainly headphones. Will be buying avantone mixcubes soon... After following every suggestion and experimenting where appropriate. I came up with a very good mix!! I WAS AMAZED....

I re-recorded all of my audio in a better acoustic environment using mainly household products for treatment. Miced guitar amps and Vox, DI'ed the Bass, used MIDI keyboard parts, and the ReDrum pulggin for drums and purcussion. Any MIDI part was mixed down to audio to save CPU before mixing. After that, I hit the book for instructions.... This is not a recording book.... It is a mixing book. Just remember, get good signal first!

So first BALANCE BALANCE BALANCE!!!! He takes a lot of time on this aspect, but for very good reason. Balance first, then worry about the rest. I will save the rest of the details for when you read this book. But I will say that I have learned that I can achieve very professional sounding products now with very little to work with.

I use Balance with Reason 6.5, a fender acoustasonic amp (mainly used for its pre-amp out as a DI), a fender power chorus amp, an M-Audio Large diaphram lollypop consenser, a Shure beta 58a, a Shure SM 58, a MIDI controller, and my stringed instruments.... Oh, and lots of time! You must be patient!

I am now very comfortable, proud even, to hand my mix over for mastering. I actually mastered one version myself using the MClass mastering suite in Reason 6.5. I let differnt people hear it and compare it to some profession recordings. Most say they assumed I hired out a pro studio. Some have even said that they thought my mix was better made than some of the pro tracks... But that comes down to taste.
By the way, it is very important to let other people hear the mix... Don't be bashful, just do it, and get some informed opinions if you can.

Much of this does come down to taste, but if you have never read material like this, or had help from someone in the know, and you are trying to record, you probably do not have any idea what you are doing. I recommend this book very highly. It is the fourth book that I've read, and only one that I will likely go back to consistently.

THANK YOU SOOO MUCH MIKE SENIOR. I LOVE YOU MAN!!! You saved me tons of money now and for the rest of my life. My music is sounding great now! I now need to learn about mastering in detail.
3 people found this helpful
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C. L. Messina
5.0 out of 5 stars Bite the bullet and buy the only mixing book you'll need
Reviewed in the United States on February 27, 2013
Verified Purchase
The first clue this book is valuable is the star ratings versus the used book price. Why do you think used copies sell for nearly as much as new? And what's the percentage of 5 stars? Those two indicators led to my purchase. Admittedly, I thought the price was steep but after reading I think it's a steal.

Senior's book has a very logical flow and seems to consider absolutely every challenge mixers face. You will get the most from this book starting at the beginning and working your way through it, cover to cover. It's a very concise book and will require time to read because it never let's up giving you valuable information.

I am a little at a loss for words in trying to explain how great the book is. All I can say is I've been writing music for over 15 years and have gotten better mixes through a lot of painful, time-consuming trial and error. I know what doesn't work because of MANY failures. But then I start reading this book and see Senior knows those same failures and offers the same logical solutions that worked for me. Even simple things like color coding tracks to quickly get around your mix can shoot the inexperienced in the foot, but here it is called out for you. The tips are endless and, again, the value of this book is somewhat immeasurable. Senior could make a fortune giving endless seminars just touching single chapters.

My take from the book, and this will not sit well with some newbies, is that mixing is still a very hands-on, labor intensive art in its' own right. We live in a world where programmers offer us a bewildering array of affordable equipment past engineers would have sold their house for and could only dream of. Many new to mixing assume the software is the solution in and of itself and blame the programmers when things don't go as dreamed. Some keep buying plugins and add-ons looking for the golden sound solution and when those don't work they believe that if they only could afford what the pros work on their mixes could compete with commercial studios, but the fact is, again, human skill still has the edge. It's painful to know you can't just turn on auto tune and let it run unminded to correct a pitch. It's painful to know your expensive monitors leave you with nothing exciting if you don't know what you're listening for. It might also be painful to realize some songs, no matter who the mixer, can't be fixed because the arrangement is boring, confusing, not musical or too busy. But that's where this book is a Godsend. Rather than tinker at a problem until you lose your hair you can read this book which clearly spells out what you can do, what you probably can't and what you'd be a fool to undertake. Even better, the advice can be applied to a wide variety of set-ups and budgets.

I've read the handful of low ratings and I see the same pattern- readers with unrealistic expectations and not enough patience to mix. That said, I'm not sure how anyone could rate the book so low and expect commercial (or even slightly good) mixing results. The book won't move the faders for you. To them I'd say they might be better off hiring a professional mixer.

A million 'thank you's' to Mike Senior for this comprehensive and immensely helpful book. Seriously, if you're reading this I want you to know you've set the (very high) standard for this topic and I owe you a drink.

Another million thanks to the editor (very succinct, great flow) and to the publisher for bringing this work to us.
21 people found this helpful
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Francesc
5.0 out of 5 stars Mucha información y muy útil
Reviewed in Spain on January 18, 2024
Verified Purchase
Está muy bien escrito y explicado. Viene con imágenes y muchos ejemplos, marcas, modelos, técnicas, opiniones… de todo. Marca un antes y un después. Buena inversión
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Nikhil Bhatt
5.0 out of 5 stars 😃
Reviewed in India on March 16, 2021
Verified Purchase
Not for beginners,
Beginners u can go for audio engineering 101 by Timothy A. Dittmar
5 people found this helpful
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Erick Cisneros
5.0 out of 5 stars In libro que va al grano en cuanto al proceso de mezcla en un home studio
Reviewed in Mexico on November 21, 2019
Verified Purchase
Excelente libro, son de esos libros que no puedes solo leer una vez y va siempre al grano con los problemas que los estudios en casa tienen en cuanto a problemas derivados del incorrecto (o hasta nulo) tratamiento acustico de un cuarto común y corriente, recomendaciones para obtener el mejor sonido en cuanto a monitores, audífonos de referencia y sobre todo el detalle de cada pasó en el proceso del mixing en un contexto exclusivamente de home studios.

Un libro que me ha abierto la mente en cosas que desconocía sobre el proceso del mixing y sobre todo que está respaldado por comentarios de grandes personalidades de la producción en audio.
3 people found this helpful
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salvatore carbone
5.0 out of 5 stars Una miriade di informazioni!
Reviewed in Italy on August 1, 2019
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Penso che sia uno dei migliori libri mai scritti sul tema! Ma non solo. Questo libro ti da una miriade di informazioni che ti permettono di perfezionare le tue abilità nel missaggio. Tratta veramente tantissimi aspetti e ti da le informazioni per poterti costruire uno studio che suoni abbastanza bene da poter missare un brano che poi suoni bene in qualsiasi ascolto e circostanza. Il tipo ne sa veramente tanto!!! Lo consiglio veramente tanto a chi è interessato alle produzioni sonore.
2 people found this helpful
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Ian Stark
5.0 out of 5 stars An excellent mixing workflow reference - highly recommended.
Reviewed in the United Kingdom on April 26, 2018
Verified Purchase
As a mature 'student' wanting to cement my existing knowledge of the mixing process, as well as explore the yawning gaps in that knowledge and develop a consistent workflow, I found this book to be almost perfect.

I'll get the few (minor) niggles out the way first - and these are repeated in my review of Mike Senior's other book, Recording Secrets for the Small Studio. You should read that book as well - in fact, read it first, as it is focused on the capture of material. Get that right and you're in a much better place when it comes to the mix.

Firstly, in the niggle list - the speech bubble call outs are not useful (to me, anyway) as they are no more than verbatim lifts from the text. Fine if the text consists of sprawling passages with no breaks, but this book is usefully broken down into short, titled sections, so the need for those additional highlight bubbles is minimal and they become a distraction. More useful might have been something like another short comment from a respected producer/engineer/artist on the subject being discussed.

Secondly, the larger secondary text boxes are often annoyingly placed, such that they unnecessarily interrupt the flow of reading a section or require you to turn back to a previous page to read them. It might make for an interesting layout, but it gets annoying. To be honest, in most cases I couldn't see a reason for the passages to be treated as supplementary text boxes as the topics often deserved inclusion in the main text.

Finally on the minor niggle front, the quality of the graphics was up to Focal Press's usual standard - variable. I don't get how a thirty quid book can't offer consistently high quality images and illustrations. Screenshots, as always, look the worst.

So, those weeny complaints aside, in pretty much every regard I found the book to be brilliantly structured, clearly written (with enough humour to raise a smile in some of the drier sections) and with an excellent progress from one chapter to the next. It is pretty much laid out like an all-purpose mixing session workflow sequence, starting with prepping the material, moving on through balancing, compression, EQ, and so on. It's crammed with useful tips from Mike and from respected producers and engineers.

The book exposed huge gaps in my knowledge and some terrible practices I had developed over the years. The arguments for and against doing things in a certain way were clear and compelling and made total sense, often backed up with comments from the industry experts. It was interesting to compare this with a lot of other free and commercially available mixing training to see how many seemingly elementary mistakes many other people are making. It made me feel a little better about my naivety! In fairness, the 'rules' are made to be followed, bent, broken or ignored as appropriate for the situation at hand, and the end result - the final mix - is the final proof of the pudding. So, for example, while Mike promotes using EQ in the first instance to CUT rather than BOOST to balance a track in the mix, he also goes on to say that there are times when doing the opposite might work better for your desired result. I doubt that people like Brian Eno or Tony Visconti slavishly followed all the rules in the studio. Of course not. While I am sure these pioneer producers have a solid understanding of the 'correct' way to do things, they took those rules and wrapped their own experimentation and fearlessness around them to come up with something different. As a basis for developing your own techniques, or simply as a standard guide to straightforward, logical mixing, either way this book is a fantastic source.

I have read it once, cover to cover, and now plan to go through it again with a specific mix on my desk, applying Mike's logic and workflow. I'm rarely excited about reading the same book twice - especially back to back - but on this occasion I am raring to go. I don't think I will pick up another book on mixing for a while, but I will buy a few masterclass style video tutorials to supplement this. It will be interesting to watch these given the solid understanding I now have of the mixing process.
16 people found this helpful
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