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In sound recording and reproduction, audio mixing is the process of optimizing and combining multitrack recordings into a final mono, stereo or surround sound product. In the process of combining the separate tracks, their relative levels are adjusted and balanced and various processes such as equalization and compression are commonly applied ...
Audio mixing is the process by which multiple sounds are combined into one or more audio channels. In the process, a source's volume level, frequency content, dynamics, and panoramic position are manipulated or enhanced. This practical, aesthetic, or otherwise creative treatment is done in order to produce a finished version that is appealing ...
Multitrack recording (MTR), also known as multitracking, is a method of sound recording developed in 1955 that allows for the separate recording of multiple sound sources or of sound sources recorded at different times to create a cohesive whole.
A monitor engineer and console at an outdoor event. Live sound mixing is the blending of multiple sound sources by an audio engineer using a mixing console or software. Sounds that are mixed include those from instruments and voices which are picked up by microphones (for drum kit, lead vocals and acoustic instruments like piano or saxophone and pickups for instruments such as electric bass ...
Overdubbing (also known as layering) [1] is a technique used in audio recording in which audio tracks that have been pre-recorded are then played back and monitored, while simultaneously recording new, doubled, or augmented tracks onto one or more available tracks of a digital audio workstation (DAW) or tape recorder. [2]
Ping-pong recording (also called ping-ponging, bouncing tracks, or reduction mixing) is a method of sound recording. It involves combining multiple track stems into one, allowing more room for overdubbing when using tape recorders with a limited set of tracks. It is also used to simplify mixdowns. The two most common methods consist of
For the convenience of recording engineers, each player has to record their part on a separate track while listening to a click track – a metronome – and the clicks are then used to synchronize the tracks while the technicians adjust them to their taste and mix them. I know talented young musicians who can't do it; we can understand why.
In the 1960s Brian Wilson of The Beach Boys, Frank Zappa, and The Beatles (with producer George Martin) were among the first popular artists to explore the possibilities of multitrack recording techniques and effects on their landmark albums Pet Sounds, [31] Freak Out!, and Sgt. Pepper's Lonely Hearts Club Band. [32]