It’s the low end of the audio spectrum that presents the toughest mixing challenges when you’re working under budgetary constraints, and in my experience it’s this aspect of small-studio mixes that most often falls short when compared with professional productions. As I see it, the reason for this trend is that the only real low-frequency monitoring in a typical small studio comes from its nearfields, yet the majority of the small nearfield systems I’ve encountered in use suffer unacceptably from low-end resonance problems as a result of ported speaker designs and/or room modes. Although there are plenty of ways to reduce resonance effects to workable levels (as discussed in Chapter 1), the reality is that ...
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