mixing

Dojo Columnist Bryran Clark at the helm.

A few small organizational tricks can set your digital workspace up for success.

Hi, and welcome to another Dojo. This time, I’m going to give you ways to cut the clutter from your sessions and help make your recording process more efficient—in short, more kaizen. This compound Japanese word is usually translated as “good change” but has morphed over the years to mean something closer to “continual improvement.” The concept is applied in multiple industries from auto manufacturing to healthcare, and it can certainly be effectively applied on an individual level.

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LUFS offers three different readings, with LUFS long-term, or integrated, being the one digital streaming platforms are paying the most attention to.

Streaming platforms each have their own volume standards for uploaded audio, and if you don’t cater your mixes to each, you risk losing some dynamic range.

Here’s the scenario: You’ve finished your latest masterpiece, and now it’s time to start considering how your mixes and their loudness levels will be perceived across all digital platforms (Apple Music, Spotify, Amazon, etc.). In addition, you might also make sure your music adheres to the strict audio broadcast standards used in film, TV, podcasts, video games, and immersive audio formats like Dolby Atmos.

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In Universal Audio’s LUNA DAW, “trim” is offered as an additional automation option.

In the modern world of immersive audio capabilities, knowing how to automate mix parameters is essential.

Let me focus on the paradigm shift in the mixing world—immersive audio. It’s been coming quietly for a long time, and I believe it might just survive the bleached-bone-littered landscape of previous multi-channel mixing technology incarnations that were left for dead and never destined for success, like Quad and 5.1 surround sound.

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