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    The Art of Mixing Color Visual Section

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    Ron Whittington
    The document provides descriptions of visual representations of mixes for different genres of music. It includes 18 examples of mixes for genres like hip hop, blues, rap, reggae, heavy metal, new age, alternative rock, acoustic jazz, folk music, and big band. For each mix, it notes characteristics like which instruments are most prominent, how effects are used, and how different elements are balanced or positioned in the stereo field. The visuals are intended to illustrate common approaches to mixing different styles of music but also indicate there is no single right way to mix any genre.

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    Download as PDF, TXT or read online from Scribd

    The Art of Mixing Color Visual Section

    Uploaded by

    Ron Whittington
    154 views16 pages
    The document provides descriptions of visual representations of mixes for different genres of music. It includes 18 examples of mixes for genres like hip hop, blues, rap, reggae, heavy metal, new age, alternative rock, acoustic jazz, folk music, and big band. For each mix, it notes characteristics like which instruments are most prominent, how effects are used, and how different elements are balanced or positioned in the stereo field. The visuals are intended to illustrate common approaches to mixing different styles of music but also indicate there is no single right way to mix any genre.

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    The Art of Mixing Color

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    The document provides descriptions of visual representations of mixes for different genres of music. It includes 18 examples of mixes for genres like hip hop, blues, rap, reggae, heavy metal, new age, alternative rock, acoustic jazz, folk music, and big band. For each mix, it notes characteristics like which instruments are most prominent, how effects are used, and how different elements are balanced or positioned in the stereo field. The visuals are intended to illustrate common approaches to mixing different styles of music but also indicate there is no single right way to mix any genre.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    154 views16 pages

    The Art of Mixing Color Visual Section

    Uploaded by

    Ron Whittington
    The document provides descriptions of visual representations of mixes for different genres of music. It includes 18 examples of mixes for genres like hip hop, blues, rap, reggae, heavy metal, new age, alternative rock, acoustic jazz, folk music, and big band. For each mix, it notes characteristics like which instruments are most prominent, how effects are used, and how different elements are balanced or positioned in the stereo field. The visuals are intended to illustrate common approaches to mixing different styles of music but also indicate there is no single right way to mix any genre.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 16

    COLOR VISUAL SECTION

    These color visuals are representations of particular moments in the mix. In order to represent a true mixing process, they would be flashing on and off to the music. Therefore, some of the visuals may look busier than the mix really is. Of course, every song has its own personality and is mixed based on that. Therefore, don't assume that there is only one way to mix any style of music. These visuals are only a reference point from which you can begin to study what is done in mixes for various types of music. With all this in mind . . . enjoy.

    Visual A. Hip Hop Mix


    Generally a pretty busy mix with an 808 boom loud and out front. Note the fattening on the bass and the doubling on each of the keys. Note the delay on the synth and hi-hat. Especially unique is the doubling of the hi-synth with another instrument. The super high strings are flanged for a subtle, spacey effect. The snare is not very loud in this particular mix.

    Visual B. Blues Mix


    Generally a pretty clean, clear, out front mix. Note the bass is quite loud overall, with the kick drum not far behind. The rhythm guitar, the sax, and especially the lead guitar are right out front. The vocal is set back in the mix a bit, but this is not always the case. The piano is set further back but is spread in complete stereo. The toms, hi-hat, and cymbals are all set back a bit, and the snare is a bit low, which is not necessarily typical of blues.

    Visual C. Rap Mix


    The rap mix commonly has the 808 boom boom'n and a loud vocal (though this does vary). The key, guitar, and scratch'n are all spread in stereo with fattening. Note the extremely loud clap and hi-hat; the kick is also right out front. In this mix, the snare is back a little. Also cool is the delay on the synth panned next to it. Finally, note the shaker panned opposite the hi-hat.

    Visual D. Reggae Mix


    These days, reggae mixes tend to have a huge bass with the kick not far behind and the vocal right out front. Note the clarity of the sax. Both the guitar and the skank'n key are spread in stereo so they overlap a large amount. The snare is set back a little but not always, and the hi-hat is right out front.

    Visual 167C. Heavy Metal Mix


    A very full arrangement and mix. Note the clarity of the low end (kick and bass), even though it is an extremely busy mix. The hihat, the snare, and especially the lead guitar are right out front. Note the multiple guitar parts with a few panned in stereo. The reverb is present but not so loud that it muddies everything. There isn't much room left for effects unless there is a breakdown section in the song. The overall effect is a massive, powerful wall of sound.

    Visual 203C. New Age Mix


    This mix is extremely full with nothing too sharp or cutting (although often individual lead sounds are extremely strong). Note the fattening on the keys and strings, filling out the space. The stereo flanged synth is quite prominent here, and the bass is huge. The low end is kept nice and clean, and the high-frequency cymbals are placed above

    it all.

    Visual 168C. Alternative Rock Mix


    Quite full with lots of fattening and overlapping sounds. The lead guitar is spread in stereo with a rhythm guitar right behind it and another stereo guitar in the background. A nice, clean low end, even though the mix is full. The kick and bass are quite strong.

    Visual 198C. Acoustic Jazz Mix


    Note the incredible cleanliness and clarity of the overall mix. The bass is panned to the right and doesn't have much high end. The guitar is right out front with the piano and the hi-hat. The kick is quite loud, which is not typical.

    Visual 199C. Folk Music Mix


    This type of music is typically mixed very clean and clear. The vocal is extremely loud. Note the presence and complete left and right panning of the acoustic guitars. The snare is set back, and the bass guitar and kick are not too overwhelming.

    Visual 200C. Bluegrass Mix


    Extremely clear and crispy mix. The volume is relatively even in all the instruments. When there is a vocal, it is right out front. The bass is set back and is sometimes panned to one side. The lead solos on any instrument might be bumped up some.

    Visual 166C. Big Band Mix


    A very clean and clear mix. It's typical for the vocal to be extremely loud. The horns are loud compared to the rest of the band. The hi-hat is sometimes right out front, while the piano, the guitar, the snare, the bass, and especially the kick are often quite low in volume.

    Visual 1C. Sound Imaging

    Visual 2C. Structuring Mix

    Visual 3C. 11 Aspects of Recorded Piece of Music

    Visual 20C. Large Orchestra Crowded Between Speakers

    Visual 21C. 3 Violins With Plenty of Space in Between

    (above) Visual 29C. Fattening: <30ms Delay Time /right) Visual 36C. Stereo Reverb on Sound

    Visual 42C. Even Volumes

    Visual 43C. Uneven Volumes

    Visual 44C. Balanced (Symmetrical) Mix

    Visual 45C. Lopsided (Asymmetrical) Mix

    Visual 46C. Natural EQ

    Visual 47C. Interesting EQ

    Visual 48C. Sparse Mix

    Visual 49C, Full (Wall of Sound) Mix

    Visual 50C. Virtual Mixer EQ

    Visual 59C. Sound Smashing Into Threshold on Compressor-/Limiter

    Visual 61C. Sound Fading Out Past Threshold on Noise Gate Visual 88C. Virtual Mixer Flanging

    Visual 109C. Reverb Filling in Space Between Speakers

    Visual 128C. Pyramid of Tools and Dynamics

    Visual 129C. 6 Apparent Volume Levels

    Visual 136C. Apparent Volume Level 2 Vocals

    Visual 138C. Apparent Volume Level 4 Vocals

    Visual 139C. Apparent Volume Level 2 Snare

    Visual 141C. Apparent Volume Level 4 Snare

    Visual 143C. Apparent Volume Level 1 Kick

    Visual 146C. Apparent Volume Level 4 Kick

    Visual 148C. Apparent Volume Level 1 Bass

    Visual 150C. Apparent Volume Level 3 Bass

    Visual 152C. Apparent Volume Level 2 Toms

    Visual 154C. Apparent Volume Level 4 Toms

    Visual 155C. Apparent Volume Level 2 Hi-Hat

    Visual 157C. Apparent Volume Level 5 Hi-Hat

    Visual 158C. Apparent Volume Level 2 Cymbals

    Visual 159C. Apparent Volume Level 4 Cymbals

    Visual 160C. Apparent Volume Level 1 Effects

    Visual 161C. Apparent Volume Level 2 Effects

    Visual 162C. Apparent Volume Level 4 Effects

    Visual 163C. Apparent Volume Level 5 Effects

    Visual 176C. Hi-Hat Panned Halfway Between Left Side and Middle

    Visual 177C. Toms Panned Completely Left to Right

    Visual 178C. Toms Panned Same As on Drum Kit

    Visual 180C. Toms Panned Right to Left

    Visual 183C. Mix With Drums Panned to One Side

    Visual 185C, Lead Vocals Panned at 11:00 and 1:00

    Visual 189C. 3 Background Vocals Panned Separately

    Visual 190C. 7 Background Vocals Panned to 7 Different Places Combined With Variety of Fattening

    Visual 191C. Panning With High End of Piano on Right and Hi-Hat on Left

    Visual 193C. Natural Panning of Drum Kit Visual 192C. Panning As If Onstage

    Visual 1960. Mix Balanced at Each Frequency Range

    Visual 197C. Unbalanced Mix at Each Frequency Range

    Visual 204C. Mix With Extremely Wide Panning Overall

    Visual 205C. Mix With Panning Not So Wide Overall

    Visual 210C. Mix With Lots of Different Delays Filling Out Mix Visual 218C. Clean and Clear Mix

    Visual 214C. Extremely Busy Mix With No Effects

    Visual 215C. Extremely Busy Mix With Lots of Effects

    Visual 216C. Extremely Sparse Mix With Fattening and Reverb

    Visual 217C. Extremely Sparse Mix With No Fattening and Reverb

    Visual L. "Blinded Me With Science" on Wireless by Thomas Dolby

    Visual M. The Alarm Clock Section in "Time" on Dark Side of the Moon by Pink Floyd

    Visual N. "Sledgehammer" on So by Peter Gabriel

    Visual O. "Babylon Sisters" on Gaucho by Steely Dan

    Visual P. The Four Seasons by Vivaldi

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