China
Africa
Explore chapters and articles related to this topic
Before the Mastering Session
Published in Evren Göknar, Major Label Mastering, 2020
Before beginning a mastering project, it’s important to discuss with the client (artist, engineer, producer, manager, or label) about their expectations, your mutual understandings of the specific genre, their current impression(s) of the recording and mixes, and some examples of successful projects that are comparable to theirs. This alleviates surprises and clarifies downstream expectations about the fidelity of the project. If they can send you a near-final mix, it is beneficial as you can verify that it is ready for mastering, or address any concerns before the mastering session. As your reputation and discography builds, clients will rely on your input before the mastering session. Although there can be variances, the most common mix issues to be aware of are over-compressed mix files that have problematic artifacts, improperly balanced frequency ranges (from inadequate room/playback acoustics), and improperly balanced vocals or instruments. Fortunately, all of these concerns can be addressed with revision notes for the mixer.
The Final Mix
Published in Andrea Pejrolo, Creative Sequencing Techniques for Music Production, 2012
The real mixing process begins with a rough mix that has the main goal of giving you an overall idea of how the sequence should sound. Start from the ground up with the orchestra. Begin with bass drums, then bass, the rest of the drums, followed by the piano and keys, guitars, strings, brass, woodwind, and then leads (which could include synthesizers, acoustic instruments, or vocals). Keep checking the mix after every addition, and go back to make corrections to the volume of the tracks already mixed every time you feel it is necessary. Panning allows you to accurately place instruments in the stereo image (or in surround if you are doing a surround mix). Try to achieve two main goals when working on the panning: balance between channels and respect for frequency placement. Balance is achieved by correctly placing instruments across the stereo image without favoring the left or right channel. At the end of the mix the two should be equally featured. Frequency placement also has an impact on the way you deal with panning. Usually, instruments that feature low frequencies are more naturally placed in the center of the stereo image, while instruments that feature high frequencies can be panned with more extreme settings.
Mixing Techniques
Published in Lorne Bregitzer, Secrets of Recording: Professional Tips, Tools & Techniques, 2008
Manipulating tracks in the stereo spectrum through the use of panning is a means to build a wide stereo mix. Many engineers when they are starting out make the mistake of recording everything in stereo and thinking this will create a wide mix. This is a mistake, however, because if everything is recorded in stereo, and hard panned left and right, the sound completely occupies the center of the stereo spectrum. If you listen to commercial recordings, you will hear that most of the audio tracks are coming across as mono and panned in a particular location in the stereo spectrum. If there is a particular instrument that is recorded stereo, do not be afraid to either eliminate one of the sides of the recording so that it is a mono track, or pan both tracks into a single mono position.
Crack healing in concrete by microbially induced calcium carbonate precipitation as assessed through electromechanical impedance technique
Published in European Journal of Environmental and Civil Engineering, 2023
Kamal Anand, Shweta Goyal, M. Sudhakara Reddy
To monitor the crack healing process, a thin PZT transducer (PIC 151) of dimensions 10 × 10 × 0.3 mm was mounted to each prismatic specimen (host structure) using an adhesive mix (epoxy). The PZT patch was installed 30 mm away from the centre of the cracked specimen (Kim et al., 2019). It was made sure that the thickness of epoxy was less than one-third of the patch thickness (Bansal & Talakokula, 2021). A small weight was applied over the assembly to create light pressure. At room temperature, setup was left untouched for period of 24 hours so that full curing of adhesive may be achieved. Coaxial wires were attached through the process of soldering for making connections to an impedance analyser (E4980Al, Keysight) to capture the admittance signatures. To avoid the disconnection of wires while experimenting and extra protection of PZT, a thin layer of epoxy was applied and cured for 24 hours at room temperature. Details of the experimental setup is shown in Figure 4, while the specification of PIC 151 and epoxy are listed in Table 3.
Morphological computation in haptic sensation and interaction: from nature to robotics
Published in Advanced Robotics, 2018
Julius E. Bernth, Van Anh Ho, Hongbin Liu
Some methods of transduction are better suited to specific types of stimuli, whether that be high or low frequency or only sensing the rate of change of an input as opposed to its magnitude. This echos the presence of SA and RA receptors found in many biological tactile systems, as discussed in Section 3. Researchers have attempted to mix multiple transducer types in a single sensor in order to capture several aspects of a signal.