You should now have enough tools and techniques at your disposal to create a good static mix balance. If you’ve worked through the end-of-chapter Assignment suggestions, you should also have gained some practical insight into which processes suit different balance problems within your musical style of choice. In other words, you’ll have started to interpret the subtle whisperings of fader instability that are trying to tell you what the music needs. As I openly admitted back at the start of Chapter 8, the step-by-step procedure implied by the Assignments has no foundation in real-world mixing practice, but I make no apologies for that, because it makes the vastness of the subject easier to grasp initially. ...
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