dissenting opinion... sorta...
 
I read what I could read on Amazon, and I think that there are a lot of books that will serve most folks better. I think this book tries to cover too much turf, and in a couple cases it appears to over-simplify some topics. From my perspective I would not purchase it, so I can't really provide a more thorough analysis.

If I were trying to build a library to help me record music I'd be prepared to spend a bit more, and purchase books that focus on a single topic.

Some examples:
 
For room design and/or treatment anything by Philip Newell or Michael Rettinger will go a lot further, and not only teach you how to design, build and tune a room, but it will also explain how to deal with a room you can not fully tune. Michael Cooper also wrote a fantastic book, but I was unable to find it today when I went searching.

For electronics - the list is long, but start with Hill & Horowitz, Jim Williams, and Douglas Self.

For mixing - I've really found very few books that can teach you to mix, but Bobby Owsinski and Bob Katz spring immediately to mind, especially Katz.

For a more general overview try to find the original edition of Robert Runstein's "Modern Recording" probably my favorite book, although it was written long before computers invaded studios. Still worth reading! Yamaha published a book on live sound that I think everyone should read. If you are feeling ambitious, Don Davis's Sound System Engineering is still considered by many to be the benchmark.

I know it's not much help, but that's what I'd do. Come to think of it, that's what I did<G>!
 

wst3
dissenting opinion... sorta...
 
I read what I could read on Amazon, and I think that there are a lot of books that will serve most folks better. I think this book tries to cover too much turf, and in a couple cases it appears to over-simplify some topics. From my perspective I would not purchase it, so I can't really provide a more thorough analysis.

If I were trying to build a library to help me record music I'd be prepared to spend a bit more, and purchase books that focus on a single topic.

Some examples:
 
For room design and/or treatment anything by Philip Newell or Michael Rettinger will go a lot further, and not only teach you how to design, build and tune a room, but it will also explain how to deal with a room you can not fully tune. Michael Cooper also wrote a fantastic book, but I was unable to find it today when I went searching.

For electronics - the list is long, but start with Hill & Horowitz, Jim Williams, and Douglas Self.

For mixing - I've really found very few books that can teach you to mix, but Bobby Owsinski and Bob Katz spring immediately to mind, especially Katz.

For a more general overview try to find the original edition of Robert Runstein's "Modern Recording" probably my favorite book, although it was written long before computers invaded studios. Still worth reading! Yamaha published a book on live sound that I think everyone should read. If you are feeling ambitious, Don Davis's Sound System Engineering is still considered by many to be the benchmark.

I know it's not much help, but that's what I'd do. Come to think of it, that's what I did<G>!
 

Ah well I've ordered the book now,so I'll have to give it a go. It's mainly mixing that I'm interested in for the time being,although later in the year I'm planning and learning more about room treatment.
 
So Bobby Owsinki and Bob Katz ?! I heard these names mentioned before. A poster not long ago posted a youtube link to what I think was a 'Bob Katz' video on mixing. It was an excellent watch which covered the basics really well. I've been mixing a few years now and I want to take it to a more intermediate level.I'm finding the more time I spend on it,it's bring some improvements....slowly. I think some guidance I can hopefully get closer to where I want to be.Modern Recording and Sound System Engineering sound good ! Maybe later in the year I'll look at buying these.
 
Thanks for your feedback !!! And wishing you a Happy New Year !!
 
Kev
 

kev11111111111111
 
Ah well I've ordered the book now,so I'll have to give it a go. It's mainly mixing that I'm interested in for the time being,although later in the year I'm planning and learning more about room treatment.
 
So Bobby Owsinki and Bob Katz ?! I heard these names mentioned before.

The Owsinki book is the mixing Bible, IMO.  It merits reading more than once.  The only Katz book I've read is on mastering, and I guess he gets credit for that one being the mastering Bible.
 
Before reading the Owsinki book, you might want to first read Mike Senior's book, Mixing Secrets.  I'm not saying read it instead of Owsinki.  I am strongly suggesting read both, but you might find it a little easier to start with the Senior book.
 
 

 

wst3Yamaha published a book on live sound that I think everyone should read. 

 
I still have my first edition that was gifted to me while I was setting a live stage one afternoon. That book was/is really helpful.
 
:-)

dmbaer

kev11111111111111
 
Ah well I've ordered the book now,so I'll have to give it a go. It's mainly mixing that I'm interested in for the time being,although later in the year I'm planning and learning more about room treatment.
 
So Bobby Owsinki and Bob Katz ?! I heard these names mentioned before.

The Owsinki book is the mixing Bible, IMO.  It merits reading more than once.  The only Katz book I've read is on mastering, and I guess he gets credit for that one being the mastering Bible.
 
Before reading the Owsinki book, you might want to first read Mike Senior's book, Mixing Secrets.  I'm not saying read it instead of Owsinki.  I am strongly suggesting read both, but you might find it a little easier to start with the Senior book.
 
 

Ok noted,I'll look out for Owsinki and Mike Senior this year. Thanks so much for the pointer !!! 

mike_mccue
 

wst3Yamaha published a book on live sound that I think everyone should read. 

 
I still have my first edition that was gifted to me while I was setting a live stage one afternoon. That book was/is really helpful.
 
:-)

Great,sounds like a good read !!

Hi Kev,
 The Yamaha Live Sound Reinforcement Handbook is more like a reference book. If you have an eager mind you can read it cover to cover. If you need a solid reference that you can use for practical applications like setting up sound systems and understanding the "why" of all the interconnection protocols than this book is good to have handy.
 
 I've never read a book about mixing. I come from the school of thought that one learns about mixing by listening to their favorite music as well as music they think they don't like. Personally speaking, I think I only fell in to the trap of second guessing every one else's mix for a short while and I feel fortunate to have seen the benefit of adopting a perspective where by every other mixer's mix teaches me something about other perspectives. That doesn't mean I don't have opinions about what I like or don't like, but it does mean I listen with a different set of expectations than I often hear described by other production fellows. I don't listen for what I'd do different, I listen for what the other guy does different.
 
 I also come from the school of thought that says mixing teaches you mixing. You have to have some listening skills to make any headway, but eventually you have to mix to get there.
 
 It seems to me that an obvious product category that is missing in the growing community of production enthusiasts is the commercial availability of good, solid, pre tracked multi track content that people can practice with. There is a great focus on samples and effects and it seems like a product line of multi track production tracks would be more useful to a lot of people.
 
 I grew up mixing experienced bands. I got to start with good material and had a mentor standing a few feet away the first couple of months until he figured he could double book. Having access to great content to learn to mix seemed much more valuable than anything I can imagine reading.
 
 Anyways...
 
 My philosophy is that a solid understanding of the basics of sound and music will provide a basis for devolping one's personal approach to mixing.
 
 It's a craft/art-form, which in my mind means that one has to learn to think holistically while applying detailed analysis quickly and effectively so as not to loose an understanding of what is happening to the whole.
 
 I think all art making shares that big picture/small detail thought processing and I sometimes get the impression that some music enthusiasts may encounter frustration because they are unfamiliar with that basic experience of craftsmanship which is common to all creative endeavor.
 
Anyways...
 
 Finally, I suspect that any book you read will be helpful and I have found that sometimes it takes me years to absorb and appreciate the knowledge I have encountered in books I didn't appreciate at first.
 
 These days, I enjoy reading anecdotal stories about the production process and the human interaction element of music making... well, that and "Designing Power Supplies for Tube Amplifiers". These days, those are the two subjects I have zeroed in on as being the most important things to understand about music making. :-S
 
 
 Keep reading!!!
 
 all the best,
mike
 

mike_mccue
Hi Kev,
 The Yamaha Live Sound Reinforcement Handbook is more like a reference book. If you have an eager mind you can read it cover to cover. If you need a solid reference that you can use for practical applications like setting up sound systems and understanding the "why" of all the interconnection protocols than this book is good to have handy.
 
 I've never read a book about mixing. I come from the school of thought that one learns about mixing by listening to their favorite music as well as music they think they don't like. Personally speaking, I think I only fell in to the trap of second guessing every one else's mix for a short while and I feel fortunate to have seen the benefit of adopting a perspective where by every other mixer's mix teaches me something about other perspectives. That doesn't mean I don't have opinions about what I like or don't like, but it does mean I listen with a different set of expectations than I often hear described by other production fellows. I don't listen for what I'd do different, I listen for what the other guy does different.
 
 I also come from the school of thought that says mixing teaches you mixing. You have to have some listening skills to make any headway, but eventually you have to mix to get there.
 
 It seems to me that an obvious product category that is missing in the growing community of production enthusiasts is the commercial availability of good, solid, pre tracked multi track content that people can practice with. There is a great focus on samples and effects and it seems like a product line of multi track production tracks would be more useful to a lot of people.
 
 I grew up mixing experienced bands. I got to start with good material and had a mentor standing a few feet away the first couple of months until he figured he could double book. Having access to great content to learn to mix seemed much more valuable than anything I can imagine reading.
 
 Anyways...
 
 My philosophy is that a solid understanding of the basics of sound and music will provide a basis for devolping one's personal approach to mixing.
 
 It's a craft/art-form, which in my mind means that one has to learn to think holistically while applying detailed analysis quickly and effectively so as not to loose an understanding of what is happening to the whole.
 
 I think all art making shares that big picture/small detail thought processing and I sometimes get the impression that some music enthusiasts may encounter frustration because they are unfamiliar with that basic experience of craftsmanship which is common to all creative endeavor.
 
Anyways...
 
 Finally, I suspect that any book you read will be helpful and I have found that sometimes it takes me years to absorb and appreciate the knowledge I have encountered in books I didn't appreciate at first.
 
 These days, I enjoy reading anecdotal stories about the production process and the human interaction element of music making... well, that and "Designing Power Supplies for Tube Amplifiers". These days, those are the two subjects I have zeroed in on as being the most important things to understand about music making. :-S
 
 
 Keep reading!!!
 
 all the best,
mike
 

Hi Mike
 
Yes I understand what you're saying,the best way to get better at mixing is to mix !!!! There's the same parallel in learning a musical instrument - you can know all the theory in the world but it doesn't necessary make you a great player. On the other hand though,if you play a lot and put the hours in,you end up using the theory sometimes without even thinking about.You get an instinctive feel for how and when to apply it ? I suppose this is what I'm after in trying to learn theory in mixing...to be able to apply what I learn and put it into practice.
 
You were lucky to have worked with those bands when you were younger. This is definitely the best way to learn,as it's hand on,and it sounds like you were working with good source material too. My friend is opening a studio in about 3 months...he's just put in for permission with the council and for a loan with the bank.All being well and it gets the go ahead we'll be up and running mid 2014. This will be my first experience working in a studio,I'm looking forward to it !! For ten years I've mixed inside the box,so it's going to be a bit of an eye opener with regards to mics,getting the right room sound (treatment) and even I guess learning some degree of diplomacy. My friend has this band that want to record with us,the singer has an insane ego and 'thinks' he can sing high when in reality he sounds a bit like a cat being thrown around the room.So it's challenging in this sense...do you tell him to try the same line an octave lower or do you just go along with it - if the client is happy,then who am I to argue with him ? I think like you,the studio will expose me to different styles of music too which is also positive. When I write,I generally go for the same sonic picture.Working with other peoples material must force you out of that rut and get you to work outside the box a little ?
 
Referencing CDs,yes another good way to learn to mix. My problem is I tend to listen for 10 minutes then I'll start a piece with the source I'm trying to copy,but after that I'll totally get engrossed in my project and forget about the reference track !!!!!! Normally when I listen I'll get quite into the reference track,get pretty excited and worked up about what I'm hearing,but then like I say,once I've started trying to copy the sound,I'm off into my off thing !!! I guess it's all about discipline and in my case learning some self restraint. The mixes that I've done with a reference track at the beginning are defo better than my mixes with no reference track. It's something I'll have to work harder on. 
 
When you say this -
"It's a craft/art-form, which in my mind means that one has to learn to think holistically while applying detailed analysis quickly and effectively so as not to loose an understanding of what is happening to the whole."
 
It's no different from the process of writing music is it ? I mean when you write a chorus,it's always in relation to the rest of the song.When you write lyrics,it's always makes a complete picture,a story etc. I think mixing and writing music are very similar in a lot of ways. Recently I was asking myself,what do I really want in a good mix ? I decided the main thing I want is to express a musical idea which is understandable to others and easy to relate to.When you put it like that,it doesn't seem so far out,it makes me want to learn mixing,the same way I learnt composition...it's just to express an idea and hopefully people will 'get it' or even better,'like it' !!! :-)
 
Thanks for your book references and ideas.It was interesting and helpful to read your post.
 
Kev
 

dissenting opinions about ethan winer HERE:
 
http://thewombforums.com/showthread.php?t=22021
 
example:
"The tactic is simply to BE accepted as an 'audio expert'

That's his marketing tactic. 

And as such it bothers him that there are actually experts in MAKING records out there who won't play in his puppet show

You cannot 'credential' yourself into a record making expert. 
You actually have to make records."
-weedywet, at the womb
 
 
 
i have followed ethan winer, and the arguments that go along with his sales pitches, for about 10 years now.
 and i have to agree with weedywet..
 
what i've seen in ethan winer, is a guy who is more self taught about audio and sound, than someone with a pure gifted talent.
i have not heard one mix by ethan, that i would consider even CLOSE to a professional level mix.
 
it's one thing to talk the talk, another to walk the walk.
 

I usually agree with Mr. McCue - but I am going to veer off course a bit this time.

It appears that Mike and I came up about the same time... an eager young (read untrained<G>) audio fanatic could walk into a studio and learn the business from the bottom up, the bottom being sweeping floors and running for food. That opportunity is much rarer these days. So one has to look to other resources, which, I guess, means books.

I think you can get some fundamental idea of the process from reading a well written book, although I'd never try to write such a tome! Better yet, a book about mixing with a DVD or two worth of material - just plain audio files, that the reader can dissect and mix and whatever. I am unaware of such a book... hmmm............
 
Another approach, which can help novice and seasoned pro alike, is ear training. The Golden Ears series from Dave Moulton remains the gold standard. I should have thought of that earlier, but the OP asked about a specific book, and that threw me.

There are web sites that provide raw tracks from known recordings, I'm not sure all of them are completely legal, but it is worth some surfing to find some of these. There are also companies that provide tracks to songs specifically to practice mixing - I've not used any of them, so I can't make recommendations, perhaps others can?

Finally, it should go without saying, but just in case: as you read "The Audio Expert..." do not be afraid to fact check assertions made in the book. I can think of only one or two authors who I would not do the same, and even then, I (and others) have found errors in at least one edition of one of the most well known, and well considered texts. So if you run across anything that makes you scratch your head don't be afraid to ask.