In the “Mixing Volume” you’ll learn EVERY aspect of what’s required to make a Hollywood-level immersive mix in stereo, surround sound or 3D audio. You’ll learn where to put every kind of sound in the 3D audio space, how to layer dialog with sound effects and music, how to export to legally required levels, and even how to create surround sound in any pair of headphones and deliver on Youtube! This 26 hour volume is the crown jewel of the Cinema Sound education and CANNOT be overlooked. There is no other education like it anywhere in the world.
In this chapter Mark walks us through the beginnings of a great mix including organization, process, intro to plugins and how you should mix every time.
| Chapter Contents | Run Time |
| Introduciton | 00:00:07 |
| The “I Know Thats” | 00:00:46 |
| Terms | 00:01:45 |
| Spatial Audio Designer Introduciton | 00:09:12 |
| Compressers & Limiters Introduction | 00:15:31 |
| De-Esser Introduction | 00:16:18 |
| Signal & Bus Introduction | 00:16:58 |
| Stems Introduction | 00:18:10 |
| The Best Way to Become a Better Mixer | 00:18:59 |
| Editors and Mixing | 00:21:29 |
| Review “Man Of Steel” | 00:23:36 |
| The Process of Mixing | 00:26:01 |
| Session Organization | 00:28:24 |
| Busses and Organization in Adobe Audition | 00:51:43 |
| Routing Spatial Audio Designer | 01:00:59 |
| Myths Around Fader Use | 01:10:03 |
| Intro to Plugins | 01:11:12 |
| Sound Placement Theory in a Mix | 01:12:27 |
| Mix in Stereo or Surround? | 01:16:40 |
| Wrap Up | 01:21:06 |
This chapter is an exposé on all things reverb: plugins, routing, use, mono, stereo and surround reverbs and adding special effects to reverb.
| Chapter Contents | Run Time |
| Introduction | 00:00:08 |
| Review “X-Men” | 00:01:09 |
| Reverb Plugins Introduced | 00:04:33 |
| Waves TrueVerb | 00:05:28 |
| Mono Reverbs | 00:08:20 |
| Stereo Reverbs – Algorithmic | 00:11:28 |
| Stereo Reverbs – Convolution | 00:16:44 |
| Adaptiverb | 00:27:49 |
| Surround Reverbs | 00:33:33 |
| Issues with Surround Reverbs | 00:38:16 |
| Reverb Routing | 00:42:43 |
| Chorus on Reverb | 00:46:19 |
| Flanger on Reverb | 00:47:53 |
| EQ on Reverb | 00:48:30 |
| Pitch Shifting Reverb | 00:49:18 |
| Multiple FX on Reverb | 00:50:00 |
| Wrap Up | 00:53:34 |
This chapter goes through commonly (and uncommonly) used delay effects in a mix specifically as they relate to re-recording mixing.
| Chapter Contents | Run Time |
| Introduction | 00:00:07 |
| Review: “The Matrix” | 00:00:44 |
| Straight Delays | 00:05:20 |
| Chorus | 00:23:08 |
| Flanger | 00:31:06 |
| Phaser | 00:31:26 |
| Ensemble | 00:36:45 |
| Pitch Shift | 00:41:00 |
| Vocoder | 00:48:57 |
| Wrap Up | 00:54:58 |
In this chapter, Mark takes us through example after example of mashing up plugins into unholy combinations that bring heavenly results to your mix.
| Chapter Contents | Run Time |
| Introduction | 00:00:07 |
| Review: “Gravity” | 00:53:00 |
| Stereo Enhancement | 00:03:11 |
| Exciter | 00:13:06 |
| Distortion | 00:20:41 |
| Lo-End Enhancement | 00:33:14 |
| Octaver | 00:44:31 |
| Integration of Plugins Example 1 | 00:48:26 |
| Integration of Plugins Example 2 | 00:53:48 |
| Integration of Plugins Example 3 | 00:57:10 |
| Integration of Plugins Example 4 | 01:00:00 |
| Integration of Plugins Example 5 | 01:06:12 |
| Wrap Up | 01:15:11 |
The most critical chapter deals with dynamic effects which make the difference between a lousy mix and a snappy one, including compression, expansion, de-essing, limiting, maximizing and show-downs with various manufacturers plugins.
| Chapter Contents | Run Time |
| Introduction | 00:00:07 |
| Review: “Lord of the Rings: Palinor Fields” | 00:01:23 |
| Compression Practical Use | 00:03:05 |
| Compression with Waves Plugins | 00:19:48 |
| Multiband Compression | 00:23:15 |
| Multiband Compression with iZotope Ozone 7 | 00:32:01 |
| Adobe Audition “Leveler” | 00:36:11 |
| Waves Vocal Rider | 00:38:30 |
| Compressing Music | 00:39:39 |
| Compressor Comparison | 00:42:32 |
| Multiband Compressor Comparison | 00:45:23 |
| Compression on SFX | 00:50:05 |
| SFX Compression Comparison | 00:53:02 |
| Compression on the Full Mix | 00:55:55 |
| Multiband Compression on the Full Mix | 00:59:33 |
| De-Essing | 01:03:25 |
| Waves De-Esser | 01:06:28 |
| Expansion | 01:09:18 |
| Waves Expander | 01:13:27 |
| Limiting | 01:17:24 |
| Waves Ultramaximizer L1 | 01:21:45 |
| iZotope Ozone 7 Maximizer | 01:23:23 |
| Limiter Comparison | 01:24:41 |
| Wrap Up | 01:28:41 |
In this chapter Mark introduces us to Distance To Camera Mixing (DTC), the basics of ADR mixing, where to pan Dialog and how to be compliant with Dialog Norm.
| Chapter Contents | Run Time |
| Introduction | 00:00:08 |
| Review: “Tomorrowland” | 00:00:41 |
| Dialog Mix Procedure | 00:02:03 |
| Panning Dialog | 00:03:37 |
| Dialog Basic Grade Introduction | 00:05:48 |
| Distance To Camera Mixing (DTC) | 00:25:00 |
| Track Based DTC Mixing | 00:36:24 |
| Clip Based DTC Mixing | 00:39:34 |
| ADR Mixing Introduction (Macbeth) | 00:46:11 |
| Dialog Normal/Compliance | 00:51:00 |
In this chapter we Mix the Dialog channels for the ENG and Donuts Example Videos and learn a slew of things including dealing with Final Cleaning, Dialog Ambience, Final Volume and more.
| Chapter Contents | Run Time |
| Introduction | 00:00:08 |
| ENG Dialog Mixing | 00:01:13 |
| Donuts Dialog Mixing | |
| – Special Effects Dialog | 00:20:38 |
| – Ending Dialog Mixing & Clean | 00:26:00 |
| – Stereo/In Car Dialog Mixing | 00:37:57 |
| – Dealing with Unwanted Effects (Door Slams) | 00:43:29 |
| – Multi-mic Stereo Mixing Issues | 00:47:06 |
| – Adding Reverb to DX for Ambience | 00:57:56 |
| – Managing Final Volume | 01:03:46 |
In this chapter Mark takes us through the Dialog Mix for the Action Example Video including more DTC Mixing, general balancing, limiting for dialog, how to create effects for dialog and more.
| Chapter Contents | Run Time |
| Introduction | 00:00:08 |
| Action Scene Dialog Mixing | |
| – General Balancing and Intro | 00:01:02 |
| – Distance To Camera Mixing | 00:03:00 |
| – Futzing/Dialog Effects | 00:04:55 |
| – Dealing with ADR Mixing | 00:10:41 |
| – Limiting for Set Sound Effects | 00:12:12 |
| – General Balancing | 00:14:32 |
| – Distance To Camera Mixing | 00:17:22 |
| – Multiband Compression on Dialog | 00:26:47 |
| – General Balancing & DTC Mixing | 00:28:07 |
| – Limiting for Set Sound Effects | 00:31:39 |
| – General Balancing & DTC Mixing | 00:32:07 |
| – Limiting for Dialog | 00:35:44 |
| – General Balancing & DTC Mixing | 00:37:18 |
| – Adobe De-Hum Plugin in Dialog | 00:42:17 |
| – General Balancing | 00:42:53 |
| – Double Check the Work | 00:45:21 |
| Wrap Up | 00:48:30 |
In this chapter Mark takes us through the complex Macbeth Example Video Dialog Mix including more DTC mixing, dealing with noises, managing de-reverb plugins, and general balancing and automation.
| Chapter Contents | Run Time |
| Introduction | 00:00:08 |
| Macbeth Dialog Mixing | |
| “- General Balancing ” | 00:00:24 |
| – De-Essing Dialog with Multi-Band Compression | 00:08:03 |
| – General Balancing & Automation | 00:10:16 |
| – Distance to Camera Mixing | 00:11:57 |
| – Removing reverb with Unveil | 00:36:38 |
| – General Balancing & Automation | 00:38:30 |
| – Unveil & RX Together to De-Reverb DX | 00:40:41 |
| – General Balancing & Automation | 00:45:04 |
| – Unveil & RX Together to De-Reverb DX | 00:47:28 |
| – General Distance To Camera Mixing | 00:50:37 |
| – Dealing with Problem Frequencies | 00:54:19 |
| – General Distance To Camera Mixing | 00:59:24 |
| – Dealing with Beard Noise | 01:06:25 |
| – General Balancing & Automation | 01:11:00 |
In this final chapter on Dialog Mixing, Mark takes us through the difficult beach Mix and deals with De-Essers, ADR, DTC Mixing and more.
| Chapter Contents | Run Time |
| Introduction | 00:00:08 |
| Beach Dialog Mixing | |
| – General Balancing & Distance to Camera Mixing | 00:00:54 |
| – Audition De-Esser | 00:22:46 |
| – General Balancing & Distance to Camera Mixing | 00:24:18 |
| – Adding Mono Reverb to Ext. Dialog | 00:30:07 |
| – Double Check the Work | 00:33:23 |
| – ADR Mixing | 00:36:55 |
| – Distance To Camera Mixing | 00:37:55 |
| Wrap Up | 00:54:33 |
In this first chapter on mixing Ambiences, we go through the ENG and Action mixies and learn about panning and automation, EQ, and layering ambiences in the mix
| Chapter Contents | Run Time |
| Introduction | 00:00:08 |
| Review: “Tron: Legacy” | 00:00:47 |
| Ambiences Introduction | 00:05:13 |
| ENG Ambiences | 00:08:27 |
| Action Scene Ambiences | 00:22:39 |
| – Panning & Automating Ambiences | 00:28:10 |
| – Ambience Mixing and EQ | 00:36:04 |
| – Layering | 00:43:34 |
In this final Ambience mixing chapter, Mark takes us through the Donuts, Macbeth & Beach Mixes where we learn about Car Ambiences, Panning, Dealing with Room tone and more.
| Chapter Contents | Run Time |
| Introduction | 00:00:08 |
| Donut Scene Ambiences | |
| – Stereo Ambiences with Stereo Mics | 00:00:54 |
| – Dealing with Car Ambiences | 00:01:30 |
| – Automating Ambiences (door closes) | 00:12:12 |
| – General Ambience Mixing | 00:20:00 |
| Macbeth Scene Ambiences | |
| – General Ambience Mixing | 00:30:42 |
| – Ambience Panning with Camera | 00:38:34 |
| Beach Scene Ambiences | |
| – General Ambience Mixing/Auditioning | 00:46:21 |
| – Adding the Surf/Roomtone & Effects | 00:52:19 |
| – Fine Tuning the Room Tone | 00:56:45 |
| – Ambience Panning with Camera | 01:00:12 |
| – Double Check the Work | 01:02:42 |
| Wrap Up | 01:05:14 |
In this singular chapter on sound effects mixing, Mark shows us the intricacies of layer SFX over Dialog and Ambiences in the ENG, Action and Donuts scenes.
| Chapter Contents | Run Time |
| Introduction | 00:00:08 |
| Review: “Hero” | 00:00:26 |
| The Rules of Sound Effects | 00:03:04 |
| ENG Sound Effects Mix | 00:05:20 |
| Action Scene Sound Effects Mix | 00:12:17 |
| – Gun Cocks | 00:13:08 |
| – Whoosh/FX | 00:15:01 |
| – Masking Set Sound with SFX | 00:15:32 |
| – Synth Sound Effects Mixing | 00:17:16 |
| – Barrel FX | 00:18:52 |
| – Punches | 00:21:24 |
| – Kicks | 00:28:39 |
| – Firearms/Guns | 00:30:27 |
| – Punches | 00:32:48 |
| – Firearms/Guns | 00:34:23 |
| Donuts Scene Sound Effects Mix | |
| – Basic Balancing | 00:41:37 |
| – SideChain Notch EQ | 00:50:38 |
| – Basic Balancing | 00:55:55 |
| – Layering and Adding Power | 01:03:29 |
| – SFX Redux at End | 01:08:28 |
| – Reorganizing on the Fly | 01:18:17 |
| – Double Check the Work | 01:21:33 |
| – Car By Sound Effects | 01:24:36 |
| Wrap Up | 01:32:50 |
In this first chapter of Foley Mixing, we learn about mixing Clothing, Footsteps, Walk-Aways, and general rules of mixing from the Macbeth Example Video.
| Chapter Contents | Run Time |
| Introduction | 00:00:08 |
| Introduction to Foley | 00:00:35 |
| Foley Mixing: Macbeth | |
| – General Mixing and Balancing | 00:02:55 |
| – Panning Foley | 00:06:23 |
| – Distance To Camera Mixing | 00:09:49 |
| – Dealing with Earrings | 00:11:52 |
| – On Set Sound Vs. Foley | 00:15:44 |
| – Clothing | 00:18:10 |
| – Balancing DX with Foley | 00:19:32 |
| – Dealing with hits, clothing, slaps | 00:21:24 |
| – General Mixing and Balancing | 00:26:30 |
| – Footsteps | 00:34:57 |
| – Sitting in Seats | 00:36:15 |
| – General Mixing and Balancing | 00:40:49 |
| – Footstep Walk-Aways | 00:45:13 |
| – Double Check the Work | 00:47:08 |
| – Last Minute Dialog Ambience & Routing | 00:48:19 |
| – Best Place for Foley | 00:51:54 |
| – Clothing Vs. Footsteps. Who Wins? | 00:54:03 |
| – Layering Set Sound with Foley (clothing) | 00:55:56 |
| Wrap Up | 01:01:27 |
In this chapter we mix the foley for the Action Example Video and have more exmples of mixing noisy foley, clothing, automation, footsteps, hits, body falls and more.
| Chapter Contents | Run Time |
| Introduction | 00:00:08 |
| Action Scene Foley Mix | |
| – Introduction and First Pass | 00:00:43 |
| – The Fall Down/Body Hit | 00:07:11 |
| – Footsteps | 00:09:06 |
| – Clothing | 00:12:56 |
| – Fixing Noisy Foley | 00:14:03 |
| – Clothing | 00:14:58 |
| – Body Falls and Ancillary Foley | 00:17:52 |
| – Transient Shaper for Foley (iZotope) | 00:21:59 |
| – Ancillary Foley Mixing | 00:24:36 |
| – Using Waves Lo-Air for Foley | 00:25:27 |
| – Hand Hits | 00:28:09 |
| – MORE Footsteps | 00:30:35 |
| – Dealing with Gun Foley and Repurposing | 00:30:55 |
| – Gun Foley Walk Through | 00:32:41 |
| – Whole Mix Complete! Now What? | 00:37:30 |
| – Double Check the Work & Tweeze | 00:38:42 |
| – Action Sequence Double Check & Tweeze | 00:51:28 |
| – More Gun Foley | 00:53:10 |
| – Breath & Foley | 00:53:54 |
| – Last Looks At Clothing Foley | 00:54:52 |
| – Last Looks At Footsteps | 00:55:27 |
| Wrap Up | 00:56:08 |
In this final Foley Mixing chapter, Mark takes us through the mixes for ENG, Beach and Donut Example Videos where we learn about skin foley, room tone vs. foley issues and complete scene replacement with foley.
| Chapter Contents | Run Time |
| Introduction | 00:00:08 |
| ENG Foley Mix | 00:00:34 |
| – Foley Imaging with Reverb | 00:08:13 |
| – Double Check the Work | 00:10:17 |
| – Foley Vs. Ambiences | 00:13:23 |
| Beach Scene Foley Mix | |
| – Introduction, EQs and Footsteps | 00:16:28 |
| – Clothing/Nylon Jacket | 00:26:02 |
| – Glasses and Ancillary Foley | 00:28:07 |
| – Cloth and Skin | 00:30:48 |
| – Double Check the Work | 00:33:38 |
| – Room Tone/Ambiences Vs. Foley | 00:36:50 |
| Donut Scene Foley Mix | |
| – Foley with SFX | 00:40:42 |
| – Full Replacement with Foley & Mix | 00:43:15 |
| Wrap Up | 00:55:31 |
In this first chapter on music mixing, we learn the best way to mix music and the process for doing so in theory and in practice in the Macbeth Example Video.
| Chapter Contents | Run Time |
| Introduction | 00:00:08 |
| Review: “The Matrix” | 00:00:41 |
| Before Mixing the Music… | 00:05:08 |
| Stem Organization | 00:06:12 |
| Initial Track Levels | 00:12:58 |
| Music Bus Mastering | 00:14:40 |
| Surround Panning | 00:17:59 |
| Macbeth Music Mix | 00:31:49 |
| – Mixing Source (on set) Music | 00:39:23 |
| – Mixing Stems | 00:41:37 |
| – Music Vs. Foley. Who Wins? | 00:42:53 |
| – General Music Mixing With Stems | 00:45:00 |
| – Notch EQing Stems | 00:50:40 |
| – Double Check the Work | 00:57:56 |
| Wrap Up | 01:04:37 |
In this final video on music mixing, Mark takes us through the ENG, Donuts, Beach and Action mixes and gives solutions for dealing with both stems and baked-in instruments in stereo deliveries.
| Chapter Contents | Run Time |
| Introduction | 00:00:08 |
| Donut Scene Music Mix | 00:01:05 |
| ENG Music Mix | 00:12:04 |
| Beach Music Mix (No Stems) | 00:15:27 |
| – Dealing with Baked-In Instruments | 00:26:47 |
| Action Music Mix Listen Down (Stems) | 00:27:55 |
| – Begin the Mix | 00:32:16 |
| – Double Check the Work | 00:43:51 |
| Wrap Up | 00:45:19 |
In this chapter, Mark shows us the critical nature of integrating and Tweezing the final tracks into a cohesive and powerful whole by explaining how to choose which tracks to emphasize at a given time in the Macbeth and Beach Example Videos.
| Chapter Contents | Run Time |
| Introduction | 00:00:08 |
| Review: “Inception” | 00:00:40 |
| Immersion, Emotion, Story. Which to Choose | 00:03:08 |
| VCAs, Bussing and Routing | 00:05:08 |
| Rules for Mixing | 00:06:05 |
| ENG Integrate & Tweeze | 00:07:39 |
| Macbeth Integrate & Tweeze | 00:16:31 |
| – Editing the Notes | 00:22:36 |
| Beach Integrate & Tweeze | 00:38:14 |
| – Hiding Junk with Ambiences | 00:43:21 |
| – The Listen Down & Take Notes | 00:49:33 |
| – Editing the Notes | 00:52:22 |
| Wrap Up | 00:56:04 |
In this final chapter on practical examples of mixing, we learn about dealing with black cuts and tails, creating active motion in static music and more in the Action and Donuts Example Video Mixes.
| Chapter Contents | Run Time |
| Introduction | 00:00:06 |
| Action Integrate & Tweeze | 00:00:25 |
| – Comparing Immersion, Story, Emotion | 00:01:57 |
| – The Listen Down & Take Notes | 00:28:23 |
| – Editing the Notes | 00:32:04 |
| Donuts Integrate & Tweeze | 00:41:04 |
| – The Listen Down & Take Notes | 00:41:56 |
| – Editing the Notes | 00:45:34 |
| – Active Motion from Source Music with Flangers | 00:47:42 |
| – Editing the Notes | 00:50:27 |
| – Adding Tails to Black Cuts | 00:57:21 |
| Wrap Up | 01:02:23 |
In this chapter Mark goes over the brutal reality of conforming audio mixes to additional editorial cuts, and how to integrate new elements to the mix last minute.
| Chapter Contents | Run Time |
| Introduction | 00:00:07 |
| Conforming and Adding Last-Minute: Donuts | |
| – Adding Additional SFX and Tweezing | 00:01:53 |
| – Adding Additional Dialog and Futz | 00:06:30 |
| Conforming and Adding Last-Minute: Beach | |
| – Adding Additional SFX and Tweezing | 00:10:16 |
| Conforming, Editing and Keeping Calm | 00:19:28 |
| Wrap Up | 00:27:54 |
In this chapter Mark shows us what we need to know in order to get compliant exports and audio deliverables as well as how to master great sounding mixes using the Macbeth, and Action Example Videos
| Chapter Contents | Run Time |
| Introduction | 00:00:07 |
| Review: “I, Robot” | 00:00:42 |
| Mastering the Mix/Output Plugins | 00:04:46 |
| The Mandatory Plugins | 00:07:20 |
| Routing 5.1 Deliverables in Adobe Audition | 00:11:07 |
| Mastering Plugins: Macbeth Theatrical Mix | 00:16:27 |
| Mastering Plugins: Macbeth DVD/BRD Mix | 00:29:11 |
| Mastering Plugins: Action DVD/BRD Mix | 00:41:11 |
| Legal Levelling & Audition Loudness Radar | 00:51:18 |
| Wrap Up | 00:55:14 |
In this chapter, we learn how to route busses for 5.1 export, how to organize and check your files, and Mark puts to rest the age-old argument about real-time vs. offline bouncing.
| Chapter Contents | Run Time |
| Introduction | 00:00:07 |
| File Organization | 00:00:38 |
| File Types | 00:06:50 |
| Realtime Vs. Offline Bounce | 00:08:06 |
| Export Protocols in Adobe Audition | 00:13:10 |
| Export Routing in 5.1 | 00:21:34 |
| Downmixing to Stereo | 00:25:43 |
| Routing for Simultaneous 5.1 and Stereo Burns | 00:28:45 |
| The Mandatory Deliverables | 00:33:35 |
| Checking Your Files | 00:34:18 |
| The 5.1 Cheat From Stereo Stems | 00:35:06 |
| Wrap Up | 00:39:42 |
This 9 minute clip is a blast through all the important elements of mixing in a blipvert montage fashion.
In this final and controversial mixing chapter, Mark goes over the critical aspects of creating a mix for the internet in the loudness war generation, and prooves that louder makes people “like” your production better.
| Chapter Contents | Run Time |
| Introduction | 00:00:07 |
| Review: “Star Wars: The Force Awakens” | 00:01:48 |
| On Loudness | 00:02:45 |
| Creating an Internet Mix – with the Action Scene | 00:16:19 |
| Creating an Internet Mix – with the Donuts Scene | 00:43:33 |
| Wrap Up | 00:57:07 |
