Listening examples
Here are the audio examples that correspond to the book. Use a high quality pair of headphones or monitor speakers.
#1 Close vs distant miking
#2 Proximity effect—mic too close, then pulled away
#3 Phasing (good, then bad)
#4 Podium phasing
#5 Drum miking with phase issues (bad, good, then bad)
#6 Phasing due to 3:1 violation (good, then bad)
#7 Bass running through a cheap vs quality DI
#8 Guitar too low in the mix, then better
#9 Bass is too high
#10 Works better
#11 Something’s not quite in its place
#12 Better
#13 Something else is wrong
#14 That’s more like it
#15 The vocal is too high
#16 Now it fits better into the mix
#17 Something’s missing here...
#18 How do you like these cymbals?
#19 A muddy, boomy mix that gets cleaned up
#20 Snare drum—EQ out, then in
#21 Acoustic guitar—EQ out, then in
#22 Muddy bass guitar cleaned up with low-mid attenuation
#23 Keyboard using low-mid attenuation, EQ off, then on again
#24 Drumset overheads—EQ out, in, out, in
#25 Entire drum set before and after EQ
#26 Dry—no reverb
#27 Hall reverb
#28 Post-fader aux send
#29 Pre-fader aux send
#30 Hall reverb
#31 Plate reverb
#32 Reverb with long RT60
#33 Reverb with shorter RT60
#34 Snare dry, then with a tight reverb patch
#35 Too much reverb on the snare
#36 Entire mix with too much reverb
#37 Entire mix with a good balance of reverb
#38 No verb at all—can you hear the difference?
#39 Dry guitar, then add flanging
#40 Dry guitar, then add delay (out, in, out, in)
#41 Same thing, but with the rhythm section
#42 Compression on saxophone (none, heavy, then medium)
#43 Compression on acoustic guitar (light, then heavy)
#44 Drumset with compressor on kick and snare (off, then on)
#45 Snare compression (out and in)
#46 Bass compression (out and in)
#47 Piano compression (out and in)
#48 Vocal compression (out and in)
#49 Guitar compression (out and in)
#50 Guitar amplifier hiss with gate off, then on
#51 Snare w/ kick—gate off, then on
#52 Hum from a direct box
#53 Using a low-cut filter to eliminate vocal pops
#54 Distorted sound
#55 Moving the mic back to reduce boominess
#56 Using a low-cut filter to reduce boominess
#57 EQ a guitar to clean up mud and improve clarity
#58 Distorted vs clean
#59 Bass guitar (raw + EQ + Comp)
#60 Acoustic guitar (raw + EQ + Comp)
#61 Electric guitar (raw + EQ + Comp)
#62 Electric guitar 480Hz yuck
#63 Piano (Raw + EQ + Comp)
#64 Kick (Raw + EQ + Comp)
#65 Snare (Raw + EQ + Comp)
#66 Tom (Raw + EQ + Comp)
#67 Vocal (Raw + EQ + Comp)
#68 Comparing mics using a pair of Shure KSM32 vs AKG 414
#69 Comparing Shure SM57, Sennheiser e906, & Rode NT1000
#70 Comparing dynamic vs condenser mics
#71 Close vs distant miking
#72 Kick drum mic close to beater, then farther back in drum
#73 Proximity effect (bad, then cleaned up)
#74 Tom too close, then a bit farther away, then too close
#75 Leakage into a mic channel
#76 Phase delay issue with overhead mics on a drumset
#77 Listen how the snare sounds different when OH mics are on
#78 Sibilance
#79 Removing a vocal pop using a low-cut filter
#80 Miking a choir from several feet away
#81 Flat EQ setting (no change)
#82 9dB boost at 1kHz
#83 9dB attenuation at 1kHz
#84 9dB boost at 4kHz
#85 9dB attenuation at 4kHz
#86 9dB boost at 8kHz
#87 9dB attenuation at 8kHz
#88 9dB boost @ 125Hz
#89 9dB atten @ 125Hz
#90 Low-mid attenuation—flat, wide Q, narrow Q
#91 Hi-freq peaking, hi-freq shelving
#92 EQing an acoustic guitar
#93 Entire drum set before/after EQ
#94 Low-mid attenuation—flat, wide Q, narrow Q
#95 Dipping “mud” from vocal (flat, EQ)