Mixing with Impact - Learning to Make Musical Choices

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Product Overview

Format: Softcover

In Mixing with Impact: Learning to Make Musical Choices, Wessel Oltheten discusses the creative and technical concepts behind making a mix. Whether you’re a dance producer in your home studio, a live mixer in a club, or an engineer in a big studio, the mindset is largely the same.

The same goes for the questions you run into: where do you start? How do you deal with a context in which all the different parts affect each other? How do you avoid getting lost in technique? How do you direct your audience’s attention? Why doesn’t your mix sound as good as someone else’s? How do you maintain your objectivity when you hear the same song a hundred times? How do your speakers affect your perception? What’s the difference between one compressor and another?

Following a clear structure, this book covers these and many other questions, bringing you closer and closer to answering the most important question of all: how do you tell a story with sound?

Wessel Oltheten (1983) has been recording and mixing music since his teens, which has led to a successful studio business with a very diverse clientele, ranging from big-selling pop acts like the late Michael Jackson, Don Diablo, Simply Red and David Garrett to the Dutch Traveling Opera Company and lots of independent artists, like Black Oak, DeWolff, Navarone, Pocket Knife Army, Tim Knol, Tangarine, Marble Sounds, I Am Oak and Robin Borneman. He has specialized in mixing and mastering, but still does the occasional recording on the road for concerts and music films.

This book bears a close relationship to the classes he started teaching in 2010 at the University of the Arts Utrecht. These classes focus on studio technology and its creative applications in recording, mixing and mastering, and they were largely developed by Wessel’s own research in the field of engineering. The driving force behind this research is the question of how to make creative use of technology in music production, so that the music is supported by the engineering instead of being overshadowed by it—as is so often the case.

©2018, 352 pages