Paterson, Justin ORCID: https://orcid.org/0000-0001-7822-319X (2016) Mixing in the box. In: Mixing Music. Perspectives On Music Production. Routledge, New York, USA, pp. 77-93. ISBN 9781138218734

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Abstract

Active mixing evolved from its beginnings in the live capture of music whilst riding a fader, to automated consoles and total-recall digital desks that offered increased precision and repeatability across many channels. Processes, expectations and workflow became well established. Currently the DAW facilitates total real-time control of every parameter when ‘mixing in the box’. Further, the computer-based interface precipitates a different approach to watching, doing and importantly, listening. The number of choices facing the mix engineer has never been greater.

The desktop-only approach, its implied workflow and indeed its sound are the subject of debate amongst the professional audio community. There are those whose practice and values remain aligned with the traditions of the large recording studio, and those who sacrifice such allegiance in order to gain the convenience of the desktop environment. This chapter considers the concept of mixing in the box and the practice of its associated software-based operations, and relates these to the heritage on which it is built.

Item Type:	Book Section
Subjects:	Music Music > Record production
Depositing User:	Justin Paterson
Date Deposited:	13 Jun 2016 13:57
Last Modified:	28 Aug 2021 07:21
URI:	https://repository.uwl.ac.uk/id/eprint/2533

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