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The producers manual by paul white pdf

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The Producer's Manual by Paul White, , available at Book Depository with free delivery worldwide. Written by SOS Editor-in-Chief, Paul White. practical photographs, detailed illustrations and hands-on walkthroughs, The Producer's Manual brings together . The Producer's Manual Sound On Sound editor Paul White delivers the definitive guide to recording and mixing in the project studio. Featuring + full-colour.


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The Producer's Manual for iPhone. Best iOS alternatives to the Apple Calendar app for Turn your iPad, iPhone, and iPod touch into a collection of Touch Instruments and a full-featured recording studio. The Producer's Manual - Download | Read | PDF | EPUB. Sound On Sound editor Paul White delivers the definitive guide to recording and mixing in the project. Download as DOC, PDF, TXT or read online from Scribd. Flag for Although there are no hard and fast rules in mixing, PAUL WHITE provides some engineer and producer, and quite often as the artiste too -- which means knowing . from next door can help you identify the areas that need manual attention and.

Similarly, if you're working with a sequencer, you could try picking thinner pad keyboard sounds or brighter bass sounds. FIXING THE MIX Occasionally you'll end up with a mix which still needs that extra something, especially if you're working on a tape recorded by someone with different ideas to yourself when it comes to what things should sound like. Delay can be used to create more conventional echo and doubling effects, of course, and it has become fashionable to set up synchronised delay times that are a multiple of the tempo of the song. This makes it possible for us to take a mono tape track and give it both a stereo identity and a sense of being somewhere, rather than existing in a void. First published in , Sound On Sound editor-in-chief Paul White's Producer's Manual became an instant hit, garnering critical acclaim and becoming the must-read production text of a generation. A soft-knee compressor will usually provide the most transparent results, but try whatever you have and let your ears be the judge. There's no right or wrong way as long as it works for you, but if you don't have a lot of mixing experience, I think you'll find my approach less stressful.

One general rule is not to mess with the rhythm section level once it's set up, as this would run the risk of upsetting both the overall balance and the continuity of the song. If there are several level changes to handle during a mix and you think you might run out of hands, then rope in the musicians to help, but always put wax pencil marks on the desk for them to follow, otherwise you might find the balance changing with every pass!

The Producer’s Manual - Paul White

If a track requires a fade-out ending, make sure you start to fade at least 20 seconds before the recorded material runs out, and don't rush the tail end of the fade or it will sound unnatural. If the album is going to be compiled on a hard disk editing system, such as Sound Tools, don't bother with the fade when mixing but do it as part of the editing process; this will be smoother and will fade into true silence.

In a perfect world, every tape track would contain a perfect performance at exactly the right level with no noise or unwanted sound to be heard -- but life is rarely like that. Gates are very effective in cleaning up noisy tracks, but care must be taken to match the release time of the gate to the natural decay envelope of the sound being treated. However, gates can only keep the noise down during pauses, they can do nothing when a signal is present.

It stands to reason, therefore, that if you decide to gate a whole mix, the only real benefit will be a clean start and a clean end. If your mixer has MIDI muting, this can be set up to kill any channels when they are not in use, thus reducing the level of cumulative noise build-up in the mix. It is necessary to go through each tape track and set up the mute points individually, and if you can arrange muting and unmuting to occur on a beat, it will help to disguise any sudden change in background noise level.

While gates can only clean up pauses, dynamic noise filters can actually remove noise in the presence of signal, though you have to take care that they don't introduce audible side-effects.

Dynamic filter units simply filter out the higher frequencies when the signal level is low, and though they have no audible effects when the treated signal is strong, they do tend to affect the tail end of long reverbs. For this reason, it helps to route the reverb via one subgroup and the channels to be de-noised via another, so that the reverb escapes treatment.

Occasionally you'll end up with a mix which still needs that extra something, especially if you're working on a tape recorded by someone with different ideas to yourself when it comes to what things should sound like. Compressing a complete mix will reduce the dynamic range and increase the average energy of a mix, but as contrast is a necessary part of music, you might find the mix gains in one area and loses in another. The attack time of the compressor may be increased to 20ms or so to allow transient sounds to cut through, though the type of compressor used can make a huge difference to the subjective outcome.

Soft-knee compressors produce the most unobtrusive results, but the other side of the coin is that an obviously compressed mix can also sound quite exciting and vibrant, which is why certain vintage valve compressors are so popular. If your mix is correct in the first place, why should it need any further EQ? I can't provide the complete answer, but I do know that some equalisers are capable of flattering even the very best mixes.

Music can be made to sound 'louder' by gently cutting the mid-range slightly, and it's quite common to treat a whole mix with an exciter or a dynamic equaliser to add sparkle and detail. Since buying my SPL Vitalizer, I invariably use it when mixing and there's simply no way to simulate the effects using conventional EQ.

Before finally approving your mix, make sure you listen to it on as many different stereo systems as possible, including the car, otherwise you run the risk of creating a mix which sounds good only in your control room. Have fun.

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Occasionally you get a mix that just won't sound right, often because the song hasn't been arranged well enough to leave space for all the important parts. If you come up against one of these, here are a few tips you can try. By working through the following points, you should at least end up with something usable. Also check that the mix sounds OK in mono. What matters most in the majority of pop songs is the rhythm and the vocals, the rest is decoration.

If you can't lose something completely, try mixing it so low that you only notice it if you turn it off. Take some bottom end out of the pad synth, backing vocals or acoustic guitar parts. Then go back to the basic rhythm section plus vocals and see if that is working. If not, is it too late to try a different drum or bass sound? Similarly, if you're working with a sequencer, you could try picking thinner pad keyboard sounds or brighter bass sounds.

As the eskimo said when burning his canoe to keep warm, "You can't have your kayak and heat it! Use as a last resort only when you've got everything as good as it can be. In that case, try a little overall compression. A soft-knee compressor will usually provide the most transparent results, but try whatever you have and let your ears be the judge.

Digital reverbs create the illusion of stereo by synthesizing different sets of delay taps for the left and right channels, which makes the reverb patterns slightly different between the left and right outputs. This makes it possible for us to take a mono tape track and give it both a stereo identity and a sense of being somewhere, rather than existing in a void.

The Producer's Manual

For drums and vocals, where a longer reverb time is often chosen for artistic reasons, try to pick a setting that doesn't fill up all the space and stifle the mix; it may help to add a pre-delay of around 50ms or so. If the reverb makes the mix sound muddy, feed the reverb back through a channel that has EQ and roll off some of the bottom end. Alternatively, if the reverb is diluting the stereo image of a sound too much, try panning the instrument sound and its associated reverb to exactly the same point in the mix.

This will kill the stereo width effect, but can be effective where a sound needs to emanate from a precise location. Avoid putting more than the barest hint of reverb on bass drums or bass instruments unless for deliberate effect unless the mix has loads of empty space to allow the reverb to breath, without clouding the overall picture. Try panning an instrument eg.

The sound will appear to be coming from the speaker that's carrying the unprocessed dry sound, even if the delay is as loud as the original signal. The psychoacoustic reasons why this is so are rather too complex to go into here, but this does provide another way to add space to a sound.

If the delay is then modulated to produce a chorus sound, the result is to create the illusion of movement, and when listening in stereo you really can't tell that one channel is carrying a dry sound and the other a processed version -- the movement seems to occupy the whole of the space between the speakers.

Delay can be used to create more conventional echo and doubling effects, of course, and it has become fashionable to set up synchronised delay times that are a multiple of the tempo of the song.

For example, if a song is running at bpm, each beat is 60 divided by two seconds long -- which is half a second. Therefore, a delay of ms half a second , ms, or ms will always create echoes that are in sync with the music.

Producers by the white pdf paul manual

You can also divide the beat time into threes to create echoes that occur in triplet time. Clever use of delays can help add drive and push to a song check out The Edge's guitar playing on most U2 tracks. EQ is complex enough to warrant a complete article in its own right, though I subscribe to the school of thought that recommends leaving it alone unless desperately needed, and even then using as little as possible. Using EQ to cut rather than boost, where possible, invariably results in a more natural sound.

For general brightening of a track, try either a subtle amount of boost at 6kHz or a hint of high shelving boost usually kHz on most desks. EQ can be used to create separation in a crowded mix by using it to narrow the area of the spectrum occupied by a particular instrument or voice.

By using high and low EQ cut to 'trim' away these extremes, it may be possible to make a sound sit more comfortably in the mix. Even though such EQ'd tracks may sound a touch unnatural in isolation, they may still work well once in context. Electric guitars often benefit from this kind of 'spectral trimming' as do acoustic guitars to take out some bass end , some drum sounds, and backing vocals.

Acoustic instruments are best treated gently with maybe just a little LF cut. Lead vocals, or vocals that are very exposed in the mix, should be treated most cautiously of all. It's invariably better to get the right vocal sound at the outset, by choosing a sympathetic mic, rather than by using EQ later.

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MIXING IT by Paul White Mixing Methods

Jump to Page. Search inside document. GAIN RIDING On most mixes you'll need to do a little gain riding to sort out awkward vocal levels that the compressor can't handle, or to bring solos in and out, but again, listening from next door can help you identify the areas that need manual attention and those that can be left alone.

By white pdf manual producers the paul

FIXING THE MIX Occasionally you'll end up with a mix which still needs that extra something, especially if you're working on a tape recorded by someone with different ideas to yourself when it comes to what things should sound like.

USING REVERB Digital reverbs create the illusion of stereo by synthesizing different sets of delay taps for the left and right channels, which makes the reverb patterns slightly different between the left and right outputs.

CREATIVE EQ EQ is complex enough to warrant a complete article in its own right, though I subscribe to the school of thought that recommends leaving it alone unless desperately needed, and even then using as little as possible. Kurk John Villanueva. Patrick Aziken. Alexandru Gorgos.

The Producer’s Manual - Paul White – Attack Magazine

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Paul white by the producers pdf manual

Free delivery worldwide. Bestselling Series. Harry Potter. Popular Features. New in The Producer's Manual: Description Book. Sound on Sound editor Paul White delivers the definitive guide to recording and mixing in the project studio.