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2 Some axioms and other

gems

Due to the correlated nature of a huge area like mixing and the
diversity of potential readers, it was impossible to structure this book as a
cover-to-cover reading. For those with little background, some concepts
presented in the rest of this part might become clearer after reading the
following part Tools. The depth of coverage means that some topics
might appeal to some more than to others. For certain readers, specific
topics might become more relevant once basic understandings and
techniques have been acquired. I still believe that whether working on a
console in a professional studio or at home on a DAW, both the novice
and the veteran would find many fascinating ideas within the following
chapters.
This chapter covers a few principles that would repeat time and again
throughout this book; I have therefore chosen to discuss them at this early
stage.

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2.1 Louder perceived better

2.1
Back in 1933, two researchers at Bell Labs, Harvey Fletcher and
W.A. Munson, conducted one of the most significant experiments in
psychoacoustics. Their experiment was based on a serious of tests taken by
a group of listeners. Each test involved playing a test frequency followed
by a reference tone of 1 kHz. The listener simply had to choose which
of the two was louder. Successive tests involved either a different test
frequency, or different levels. Essentially, what Fletcher and Munson tried
to conclude is how louder or softer different frequencies had to be in order
to be perceived as loud as 1 kHz. They compiled their results and charted
a graph known as the FletcherMunson Curves . A chart based on the original
FletcherMunson study is shown in Figure 2.1. I dare to present it upsidedown, as it promotes similarity to the familiar frequency-response graphs like
those we see on some equalizers. A similar experiment was conducted after
two decades by Robinson and Dadson (resulting in the RobinsonDadson
Counters ), and today we use the ISO 226 standard (which was last revised
only a few years ago). The formal name for the outcome of these studies is
termed equal-loudness counters .
1933 Bell LabsHarvey Fletcher
W.A. MunsonW.A.

1kHz

Fletcher Munson
1kHz
Hetcher-Munson Curves 2.1 FletcherMunson Curves
20
Robinson Dadson Robinson-Dddson Counterst
Robinson-Dadson ISO 226

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Equal-loudness counters


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Figure 2.1 The FletcherMunson curves. It is shown here upside-down from its original and
standard presentation. Note that on the level axis soft levels are at the top, loud at the bottom.
2.1 -

Each curve in Figure 2.1 is known as a phon curve , and is titled based on
the level of the 1kHz reference. To give one example how this graph is read,
we can follow the 20-phon curve to see that if 1 kHz is played at 20 dBSPL,
100 Hz would need to be played at 50 dBSPL in order to appear equally
loud (a 30 dB difference, which is by no means marginal). The graph also
teaches us that our frequency perception has a bump around 3.5 kHz a
fact contributed to the resonance frequency of our ear canal. Some claim
that it is not by chance that within this bump falls the center frequency of a
baby's cry.
2.1 Phon curve 1kHz

20-phon20
1kHz 20dBSPL 20 phon 100Hz
1kHz 50dBSPL

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30dB
3.5kHz

One important thing that the equal-loudness counters teach us is that

we are more sensitive to mid-frequencies an outcome of the lows and
highs roll-off which can be seen on the various curves. Most importantly
though, it is evident that at louder levels our frequency perception
becomes more even the 0-phon curve in Figure 2.1 is the least even of all
curves, the 100-phon curve is the most even. Another way to look at this is
that the louder music is played the louder the lows and highs are perceived.
In extremely general terms, we associate lows with power, and highs with
definition, clarity and spark. So it is only natural that loud levels make music
more appealing louder perceived better.

2.1 0
100

This phenomenon explains the ever-rising level syndrome that many

experience while mixing once levels go up, it is not fun bringing them
down. The more experienced among us develop the disciple to defeat this
syndrome, or at least slow it down.

The louder music is played the more lows and highs we perceive
compared to mids.

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The latest ISO 226 counters are slightly different than those shown in
Figure 2.1; they show additional bump around 12 kHz and a steeper lowfrequency roll-off, which also occurs on the louder phon curves.
ISO 226 2.1
12kHz
The fact our frequency perception alters with relation to levels is a
fundamental mixing issue. How are we supposed to craft a balanced mix
if its frequency content varies with level? At what level should we mix? And
what will happen when the listener listens at different levels? The answer is
this: we check our mix at different levels, and try to make it as level-proof
as possible. We know what to expect as we listen at softer levels less
highs and lows. It is possible to equalize the different instruments so even
when the highs and lows are softened, the overall instrument balance
hardly changes. For example, if the kick's presence is based solely on low
frequencies, it will be heard less at quiet levels, if at all. If we ensure that the
kick is also present on the high-mids, it would be heard much better at quiet
levels. Many believe that the mids, which vary little with level, are the key
for a balanced mix, and if the lows and highs are crafted as an extension
to the mids, a mix will exhibit more stable balance at different levels. Also,
many agree that if a mix sounds good when played quietly, it is likely to
sound good when played loud; the opposite is not always true. Another
point worth remembering is that we can sometimes guess the rough level at
which the mix is likely to be played (e.g., dance music is likely to be played
louder than ambient), and use that level as the main reference while
mixing.

? ?
?

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Two common beliefs: The mids are the key for a balanced mix at
varying levels. A mix that sounds good at quiet levels is likely to sound
good at loud levels.
;

There is another reason why louder perceived better. When listening at

soft levels, we hear more of the direct sound coming from the speakers and
less of the sound reflected from the room boundaries (the room response).
Sound energy is being absorbed, mostly as it encounters a surface. The
little energy our speakers emit at quiet levels is absorbed by walls to such
a degree that only an insignificant part of it reflects back to our ears. At
louder levels, more energy is reflected and we start hearing the room
response. As a consequence, the louder music is played the more we hear
the reflections coming from around us, which provides an appealing sense
that the music surrounds us. You can experiment to see this effect, which
might be more apparent with eyes shut play a mix at quiet levels and
try to define the spatial boundary of the sound image. Most people will
imagine a line, or a very short rectangle between the two speakers. As the
music is made louder, the sound image grows, and at some point the twodimensional rectangle turns into an undefined surrounding sense.

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When it comes to making individual instruments louder in the mix,

their perception is most often improved as well. The core reason for this is
masking the ability of one sound to cover up another. More specifically,
frequency ranges of one instrument mask those of another. One of the
principal rules of masking is that louder sounds mask quieter sounds. The
louder an instrument is made, the more powerful player it becomes in the
masking game, and the clearer it would be perceived.

Masking

2.2 Percussives weigh less

2.2
It is important to distinguish the different nature of the instruments
we are mixing. An important resource in a mix is space. When different
instruments are combined they compete for that space (mostly due to
masking). Percussive instruments come and go. For example, a kick has little
to no sound between various hits. Percussives fight for space in successive,
time-limited periods. On the other hand, sustain instruments play over longer
periods, thus constantly fight for space. To give one extreme example, we
can think of a rich pad that was produced using sawtooths, involves unison,
and played in a legato fashion. Such a pad would fill both the frequency
spectrum and the stereo panorama in a way that is most likely to mask
many other elements in the mix.

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Pad Pad

In practical sense, sustained instruments require somewhat more

attention. Whether we are setting the level, pan or equalize them, our
actions would have an effect for longer durations. Raising the level of a
dense pad is likely to cause more masking problems than raising the level
of a kick. If the kick masks the pad it would only do so for short periods
perhaps not such a big deal. But if the pad masks the kick, it would constantly
do so a big deal indeed.

Pad
Pad
Pad

2.3 Importance
2.3
A scene from Seinfeld: Jerry and Kramer stand in a long line for a box
office, engaged in a conversation about Georges new girlfriend. It should
be clear that among all the people standing in the line, the production
efforts were focused on Jerry and Kremer. The make-up artist, for example,
probably spent quite some time with the two stars, perhaps little time with
the extras standing next to them, and most likely no time with any other
extras standing further away in the line. On the camera shot, Jerry and
Kramer would be clearly seen in the center; far-away extras might be out of
focus. The importance of the stars would also be evident in the work of the

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gaffer, the grips, the boom operator or any other crew member, perhaps
even the chef.
Seinfeld Jerry
Kramer George
Jerry Kramer

Jerry Kramer

Different mix elements have different importance in the mix. The

importance of each instrument depends on many factors, including the
nature of the production being mixed. In hip-hop, for example, the beat
and vocals are often the most important elements. Generally in Jazz, the
snare is more important than the kick. Spatial effects are an important
part of ambient music. It is truly important to have a prominence kick in
club music, contrary to most folk music. Many more examples can be
given. We also have to consider the nature of each instrument and its role
in the overall musical context. Vocals, for example, are often of prime
importance, but the actual lyrics also play some role. The lyrics of My Way
are of potent impact, and mixing lyrics as such requires more emphasis on
the vocals. Arguably, the lyrics of Give It Away by Red Hot Chili Peppers are
slightly less important to the overall climate of the song.

hip-hop
Ambient music

Folk music

My Way

Red Hot Chili Peppers Give It Away

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Importance affects how we mix different elements, whether it is levels,

frequencies, panning or depth we are working on. We will see soon that it
might also affect the order in which we mix different instruments or sections.
Identifying importance can make the mixing process all the more effective,
as it minimizes the likeliness of delving into unnecessary or less important
tasks. For example, spending a fair amount of time on treating pads that
only play for a short period of time at relatively low level. Those of us who
mix under time constraints have to prioritize our tasks. On extreme circumstances, it even goes down to one hour for the drums, half an hour for the
vocals and so forth.

Pad

A beneficial question in mixing: How important?

2.4 Natural vs. artificial

2.4
A specific event that took place back in 1947 changed the course
of music production and recording forever. Patti Page, then an unknown
singer, arrived to record a song called Confess . The studio was set in the
standard way for those times with all the performers in the same room,
waiting to cut the song live. Problem was, that Confess was a duet where
two voices overlap, but budget limitations meant no second vocalist could
be hired. Jack Rael, Page's manager, came up with the unthinkable: Patti
could sing the second voice as well, provided the engineer could find
a way to overdub her voice. Legend has it that at that point the engineer
cried in horror: in real-life, no person can sing two voices at the very same

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time. Its ridiculous. Unnatural! But the same legend tells that to the A&R of
Mercury Records this seemed like a potentially hit gimmick. To achieve this,
they had to record from one machine to another while mixing the second
voice on top. What then seemed so bizarre is today an inseparable part of
music production.
1947 Patti
Page Confess

Confess
Page Jack Rael
Patti

Mercury Records
A&R

We can say that a natural sound is one pertaining of an instrument

playing in front of us. If there are any deficiencies with the raw recordings
(which capture the natural sound), various mixing tools can be employed
to make instruments sound more natural. A mix is considered more natural
if it presents a realistic sound stage (among other natural characteristics). If
natural is our goal, it would not make sense to position the kick upfront and
the rest of the drum kit behind it.

However, we have to remember that natural is not always best

natural can also be very ordinary. Taking other arts for example, an early

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understanding in cinema and photography was that shadows, despite

being such a natural part of our daily life, impair visuals. The majority of
advertisements that we see go through tone and color enhancements in
order to make them look `better than life'. We have already discussed the
differences between live and studio recordings. It is not uncommon today
to place the kick in front of the drum kit, despite the fact that this creates a
very unnatural spatial arrangement.

One of the principal decisions we make in mixing is whether we

want things to sound natural or artificial. This applies on both the mix and
instrument levels. Some mixes call for a more natural approach. Jazz
listeners, for example, would expect a natural sound stage and naturalsounding instruments. Yet, in recent years more and more jazz mixes involve
some unnatural approach. They might, for instance, involve compressed
drums with emphasized kick and snare. This fresh contemporary sound
seems to attract the less (and even the more) jazz-literates, and provide a
wider market reach for record labels. Popular music nowadays tends to be
all but natural heavy compression, distortions, aggressive filtering, artificial
reverbs, delays, distorted spatial images and the likes are all very common.
These, in essence, are used as a form of enhancement that despite not
sounding natural can have a profound impact. Mixes are sonic illusions. On
the same basis that color enhancement improves visuals, our mixing tools
let us craft an illusion that simply sounds better than life. People who buy a
live album expect the natural. But those who buy a studio album expect, to
some extent, a sonic illusion.

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Some inexperienced engineers are scared to process since they take

the raw recording as a natural touchstone. Even gentle processing they
apply appears to them as harmful. Listening to a commercial track that
was mixed with an artificial approach can reveal how extreme mixing
treatments can be. Taking vocals for example, their body might be
removed, they might be compressed to show no dynamic variations, they
might even be distorted quite explicitly. We have to remember that mixing
radicalism is unperceived by common listeners. Here are three sentences
my mother never said and would probably never say:

Listen to her voice, it is over-compressed.

The guitar is missing body.

The snare is too loud.

Common listeners simply do not speak in these terms. For them, it is

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either exciting or boring, they either feel it or not. This leaves some space
for wild mixing treatments we can filter the hell of a guitar's bottom end;
people will not notice. We can make a snare sound like a Bruce Lee's
punch; people will not notice. Just to prove a point here, the verse kick on
Smells Like Teen Spirit reminds me more of a bouncing basketball than any
bass drum I have ever heard playing in front of me. People do not notice.

;
Bmce Lee
Smells Like Teen Spirit