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Amazon Exclusive: A Letter from Mike Senior on Mixing Secrets for the Small Studio, "The 'Why The Hell' Challenge"

Whenever I read anything about mixing, my first question is this: why the hell should I believe what this person's saying?

It would therefore be daft of me to expect any better treatment. So why should you believe me when I say that you can create commercial-grade mixes in a typical small home/college studio?

My first answer to this question is that you can judge for yourself, with your own ears, because dozens of my mixes for Sound On Sound magazine's popular "Mix Rescue" column are available free online--there's a taster of some of them on this very page, and lots more available on my own webpage. In all these cases I've started with real-world small-studio recordings and used widely available mass-market technology to remix it to a commercial level, all without ever setting foot inside a "real" studio. Go on, take a listen. If you want that kind of transformation for your music, then you can find a detailed explanation of my method in Mixing Secrets for the Small Studio.

The second reason you might want to take notice of these mixing techniques, though, is that they've been drawn not only from my own professional experience, but also from more than four million words of first-hand interviews with the highest-profile engineers and producers on the planet. Whatever you think of my personal advice, it's a bit trickier to dismiss the opinions of 100 of the studio industry's biggest names.

But at the end of the day it's your call: does Mixing Secrets for the Small Studio pass your own "why the hell" test? You might just find that it's the only mixing book on the market that actually does . . .

--Mike Senior

Amazon Exclusive: Top Ten Small-Studio Myths--Busted

Amongst many other things in Mixing Secrets for the Small Studio, I try to deliver a stout kicking to the following questionable (but surprisingly pervasive) pieces of received wisdom:

You need high-end gear to create commercial-grade mixes.

While great gear makes mixing quicker and easier, it's not a deal-breaker. To demonstrate this, I deliberately do all my "Mix Rescue" remixes for Sound On Sound magazine on budget gear in small home/college studios. In some cases, I've even restricted myself to the DAW's built-in plug-ins too--as Greg Kurstin did when mixing Lily Allen's hit record The Fear. If you wont take my word for it, though, here's top producer Frank Filipetti: "Your ears, your mind, your musical abilities are what its all about. Put a George Massenburg, a Hugh Padgham, a Kevin Killen together with any kind of gear, and youll get a great-sounding record. Tony Visconti is one of many others who back him up: Ive heard people make very bad records on expensive

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