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Understanding and Crafting the Mix, 3rd edition provides the framework to identify, evaluate, and shape your recordings with clear and systematic methods. Featuring numerous exercises, this third edition allows you to develop critical listening and analytical skills to gain greater control over the quality of your recordings. Sample production sequences and descriptions of the recording engineer’s role as composer, conductor, and performer provide you with a clear view of the entire recording process.
Dr. William Moylan takes an inside look into a range of iconic popular music, thus offering insights into making meaningful sound judgments during recording. His unique focus on the aesthetic of recording and mixing will allow you to immediately and artfully apply his expertise while at the mixing desk. A companion website features recorded tracks to use in exercises, reference materials, additional examples of mixes and sound qualities, and mixed tracks.
- Sales Rank: #163588 in Books
- Published on: 2014-10-31
- Released on: 2014-12-15
- Original language: English
- Number of items: 1
- Dimensions: 9.25" h x 1.17" w x 7.50" l, 1.98 pounds
- Binding: Paperback
- 518 pages
About the Author
Dr. William Moylan has worked with leading artists across the full spectrum of jazz, popular, and classical genres. His recordings have been released by major and independent record labels, resulting in wide recognition, including several GRAMMY award nominations. A leading educator and an active recording engineer and producer for over 30 years, he is a Professor and Coordinator of Sound Recording Technology at the University of Massachusetts Lowell.
Most helpful customer reviews
4 of 4 people found the following review helpful.
Third Time’s the Charm in a Well-Deserved Revision
By frankp93
I received a free item to review.
I own the first edition of Moylan’s ‘The Art of Recording’ (its original title) and often tried to convince audio friends it was a ‘much better book than it read’, with little success.
The knock against it was the academic tone that seemed especially at odds with examples drawn primarily from Beatles recordings. The lack of hands-on exercises and audio excerpts left the impression of a dated, less-than-practical, ‘abstract theory of recording’ that failed to address contemporary tools, techniques, and methods of working.
I’m glad to report this third edition keeps what I feel are the book’s strengths while the editorial revamp and new material – both written as well as downloadable audio resources - greatly improves readability and focuses the book more effectively on teaching how to critically evaluate recordings and draw upon those skills to create your own.
To be clear, ‘Understanding and Crafting the Mix’ is gear and technology-neutral – and that doesn’t mean screenshots of four or five different DAWS as opposed to one.
There are no screenshots. Moylan’s goals far outweigh that kind of ‘now click this’ tutorial approach. The book is best treated as a creative resource to be studied and applied deeply over time and referred to for practical guidance and inspiration - keep it close at hand right next to your more gear-specific titles.
Moylan wants readers to develop and fine-tune the most precious pieces of gear everyone owns - their ears and creative sensitivity. The book teaches you to listen critically to recordings – after explaining precisely what that means, the various criteria and methods of capture/analysis, and preparing the ground with hands-on exercises – not simply for you to become some golden-eared guru who can reflexively identify frequency content like a party trick - but to uncover and express your artistic viewpoint as a recordist and musical artist who treats the studio (however modest or luxurious) as an instrument in its own right.
Does that mean ‘Understanding and Crafting the Mix’ is devoid of technical specifics and nothing but rumination and esthetics – far from it. Moylan does an admirable job keeping the prerequisite math and acoustical science to a minimum. But when measuring and evaluating recorded sound in ‘non-subjective’ ways there’s a technical and graphical vocabulary you should be comfortable with and Moylan formulates and presents it in clear, straightforward language.
A real strength (and something less-apparent to me in the first edition) is Moylan’s own perspective as a musician and composer.
As an example, Part One, ‘Defining the Art of Recording’ begins with ‘The Elements of Sound’ - the familiar ‘pitch, loudness, duration and timbre’ found in many audio engineering and acoustics-related books.
But fewer authors discuss duration in the context of the metric grid and of human limitations in distinguishing durations at the extreme boundaries of perception. In similar psychoacoustic terms, Moylan discusses time as consciousness of the perceptual ‘present’, along with the effects of short and longer term memory.
These are issues many contemporary composers grappled with for much of the last century and continue to explore. Moylan invites readers to view the recording process itself as part of that exploration, rather than merely a dry, technical ‘service’ provided unobtrusively to clients. This perspective permeates ‘Understanding and Crafting the Mix’ and I think it really sets the book apart.
In later chapters on evaluating musical elements in the context of recordings Moylan makes use of various grid notations that were a bit novel when I first came across them years ago, but I think they’ve aged quite well. I’ve seen similar examples since then in musical texts on form and analysis as well as electronic music production. I think anyone comfortable with a modern DAW will navigate Moylan’s graphics quite easily.
The evaluation techniques – ways of listening for and notating time, pitch, dynamics, sound quality and spatial properties make up the heart of the book and define the toolkit Moylan delivers to readers. By developing focused listening to discrete elements we gain both a big-and-small picture perspective Moylan feels is fundamental to evaluating - and by extension - creating cohesive and effective recordings.
The most interesting parts of the book for me are the chapters on those spatial elements of recordings that make use of the audio examples.
In addition to the classic model of the stereo image, sound stage, pan and foreground, considerable information on surround sound production has been added since the first edition. Moylan’s discussion of depth and separation is one of the clearer presentations I’ve come across in any mixing book.
The final section of ‘Understanding and Crafting the Mix’ guides the reader through an ‘over the shoulder’ exercise/discussion meant to illustrate typical thought processes/workflows utilizing the skills developed throughout the book. The actual information on tracking, mixing, and mastering is not as comprehensive as what you’ll find in texts dedicated to each of those topics. But the value here is in applying Moylan’s ideas and concepts to the experience.
Moylan acknowledges in the intro taking some heat over the years for focusing on Beatles recordings – and necessarily omitting countless quality examples from subsequent decades. With the Beatles’ catalog long remastered and digitized (and arguably more influential than ever thanks in no small part to Sir Paul’s continued performing career) - I think Moylan’s original intuition and focus have been vindicated.
Finally don’t confuse this book with Bruce Bartlett’s ‘Art of Recording’ by the same publisher (perhaps that had something to do with the title change). They’re both excellent, but written with (I think) different goals in mind.
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