Simply stated, mixing is the art of balancing and nuancing the relative levels of multiple audio tracks or channels, to some aesthetically desirable result. In much electroacoustic composition, the term departs in its significance from the sense with which it is used in sound recording vocabulary. That is to say, it is often hard, or even impossible, to separate mixing from other aspects of the creative process in a discrete fashion. The term is often used in a sense that includes the overall assembling, timing, counter-pointing and articulation of sound materials, which evidently contribute significantly to determining the musical argument. An analogy may be made with the difficulty in much instrumental composition of clearly distinguishing between decisions concerned with the 'composition' of the material and those concerned with the 'orchestration' of the material.

Dans une définition simple, le mixage est l'art de d'équilibrer et de nuancer les niveaux relatifs de plusieurs pistes audio dans le but d'obtenir un résultat esthétique. Dans le domaine de la musique électroacoustique, le terme puise son origine dans le vocabulaire de l'enregistrement sonore. Ceci dit, il est très difficile, voire impossible, de séparer le mixage des autres aspects du processus créatif. En effet, le terme est aussi souvent utilisé pour désigner l'assemblage global des matériaux sonores et plus particulièrement leur organisation temporelle, leur contrepoint et leur articulation, ce qui contribue évidement d'une manière significative à l'argument musical. Une analogie peut être faite avec la difficulté dans la composition de beaucoup d'œuvres instrumentales de distinguer clairement la part des décisions concernant la “composition” du matériau de celles concernant l'”orchestration”.

Secondo la definizione più semplice, si tratta dell'arte di equilibrare e correggere i livelli di diverse piste audio, con lo scopo di ottenere un risultato estetico. In molti lavori elettroacustici, il termine rimonta al vocabolario della registrazione. Detto questo, è veramente difficile se non impossibile separare il missaggio dagli altri aspetti del processo creativo. Infatti, il termine designa spesso l'assemblaggio globale dei materiali sonori e più particolarmente la loro organizzazione temporale, il loro contrappunto e la loro articolazione, ciò che contribuisce al contenuto musicale. Un'analogia piò essere fatta con la composizione delle opere strumentali, nella quale è difficile separare le decisioni riguardanti la “composizione” da quelle che hanno a che fare con l' “orchestrazione”.

Simply stated, mixing is the art of balancing and nuancing the relative levels of multiple audio tracks or channels, to some aesthetically desirable result. In much electroacoustic composition, the term departs in its significance from the sense with which it is used in sound recording vocabulary. That is to say, it is often hard, or even impossible, to separate mixing from other aspects of the creative process in a discrete fashion. The term is often used in a sense that includes the overall assembling, timing, counter-pointing and articulation of sound materials, which evidently contribute significantly to determining the musical argument. An analogy may be made with the difficulty in much instrumental composition of clearly distinguishing between decisions concerned with the 'composition' of the material and those concerned with the 'orchestration' of the material.

Dicho de modo simple, la mezcla es el arte de balancear y matizar los niveles relativos de múltiples pistas de audio o canales para obtener un resultado estético deseado. En gran parte de la música electroacústica el significado de este término toma el sentido empleado en el vocabulario de la grabación de sonidos. Es decir, es habitualmente difícil, o incluso imposible, separar la mezcla de otros aspectos del proceso creativo. El término es frecuentemente utilizado en un sentido que incluye el montaje o ensamblado general, los ajustes temporales, el contrapunto y la articulación de los materiales sonoros, lo que evidentemente contribuye de manera significativa a determinar el argumento musical. Puede hacerse una analogía con la dificultad de gran parte de la composición instrumental, en distinguir claramente entre las decisiones relacionadas con la "composición" del material y aquellas que se ocupan de la "orquestación" del material.