Mixing for God audio examples

Here are the audio examples from the book:

#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)