{"id":1212,"date":"2022-10-05T09:16:22","date_gmt":"2022-10-05T09:16:22","guid":{"rendered":"http:\/\/alessandrofois.com\/prodotto\/manuale-di-audio-mixing-digitale\/"},"modified":"2025-12-11T10:06:21","modified_gmt":"2025-12-11T10:06:21","slug":"digital-audio-mixing-manual-2","status":"publish","type":"product","link":"https:\/\/alessandrofois.com\/en\/prodotto\/manuale-di-audio-mixing-digitale\/","title":{"rendered":"Audio Mixing Manual"},"content":{"rendered":"
\n
\n
<\/div>\n
\n

"Audio Engineering | Audio Manuals for the Sound Engineer" Series
\nVolume 3<\/strong><\/p>\n

    \n
  • 590 total pages (A4 format: 21.59 x 27.94 cm \u2013 Font: Avenir Book 11 \u2013 Line spacing: 1)<\/li>\n
  • 10 pages of index divided into 4 levels, to find each topic quickly<\/li>\n
  • n. 247 images<\/li>\n
  • n. 4 sections divided into n. 40 chapters in total<\/li>\n<\/ul>\n

    The Audio Mixing Manual<\/strong>\u00a0It is primarily aimed at general learning of the principles of mixing, but can also be used as a practical guide to consult during mixing.<\/p>\n

    It is composed of 4 parts of which:<\/p>\n

      \n
    1. the first is aimed at acquiring a basic but sufficient culture of the sound engineer regarding: the purposes and general criteria of the mix, sound, equipment, listening criteria;<\/li>\n
    2. the second is technically the most important, it is dedicated to the description of the entire operational process to be followed during the mix, with the description of the tonal, dynamic and environmental processing criteria and operations up to the finalization of the mix which precedes mastering;<\/li>\n
    3. the third deals with the specific operations of fine-tuning the various sound sources (instruments and voices), focusing especially on the most complex, delicate and recurring ones);<\/li>\n
    4. the fourth is a list of small \u201cTips and Tricks\u201d, partly developed by the author and partly \u201cfished\u201d from the \u201ccommon domain repertoire\u201d of sound engineers and some mix-stars.<\/li>\n<\/ol>\n

      Preface<\/i><\/p>\n

      The Zen teacher asked aspiring painters to study for ten years, practicing for many hours a day.<\/i><\/p>\n

      He then suggested to \u201cforget\u201d everything, stopping practicing for months.<\/i><\/p>\n

      After that he urged the student to paint \u201ctruly\u201d, following only his intuition, as the technical ability would emerge naturally, but without dominating the scene.<\/i><\/p>\n

      In this sense, the same exhortation can be formulated for the art of mixing, suggesting the following:<\/i><\/p>\n

      \u201cDon't follow any rules, but know them all first.\u201d<\/i><\/strong><\/p>\n

      I'm sure that every expert sound engineer will agree with this statement.<\/i><\/p>\n

      The Author<\/strong><\/p>\n

      Introduction<\/span><\/p>\n

      To mix well, you need to thoroughly understand all the characteristics and pitfalls of sound, to the point of developing an intuitive wisdom that, unfortunately, no manual like this can ever directly teach. However, it intends to provide a simple aid to orient oneself in the world of sound, clarifying its principles and encouraging the student to research.<\/p>\n<\/div>\n<\/section>\n<\/div>\n

      \n
      \n
      \n

      MANUAL INDEX<\/strong><\/h2>\n
      <\/div>\n
      Preface 14<\/div>\n
      Introduction 15<\/div>\n

      Part A *** INTRODUCTION TO MIXING 17<\/h2>\n

      A BRIEF HISTORY OF MIXING 18<\/h3>\n
      Orchestration as primordial mixing 18<\/div>\n
      Mixing in the first recordings 19<\/div>\n
      Multitrack and post-production processes 20<\/div>\n
      The 20 tape digital<\/div>\n
      Digital magnetic tape 21<\/div>\n
      DAW and home studio 21<\/div>\n

      APPROACH CRITERIA TO MIX 23<\/h3>\n
      Mixing Definitions and Functions 25<\/div>\n
      Technique and art of mixing 26<\/div>\n
      Listening and comparing diversity 28<\/div>\n
      Natural and artificial sound 28<\/div>\n
      Imitation and innovation in the mix 31<\/div>\n
      The Limitations of a Manual Dedicated to Mix 32<\/div>\n

      ANALOG AND DIGITAL 33<\/h3>\n
      Differences between the two worlds 34<\/div>\n
      Hardware Emulators 34<\/div>\n

      RUDIMENTS OF ACOUSTICS 36<\/h3>\n
      Noise, sound, vibrational frequency 37<\/div>\n
      Fundamental, harmonics, beat 37<\/div>\n
      Waves, height, polarity, phase, cycle, period 39<\/div>\n
      Composite waves, polarity reversal 40<\/div>\n
      Transient and tail of sounds, ADSR 41<\/div>\n
      Sound propagation 42<\/div>\n
      Intensity 42<\/div>\n
      Spatiality 43<\/div>\n
      Reflections and Absorption 43<\/div>\n
      Reflection Vectors 44<\/div>\n
      Eco 45<\/div>\n
      Flutter echo 46<\/div>\n
      Reverb 46<\/div>\n
      Presence and proximity 50<\/div>\n
      Volume 52<\/div>\n
      Environmental Resonance 52<\/div>\n
      Low frequencies 52<\/div>\n
      High frequencies 53<\/div>\n
      Transients 53<\/div>\n

      REFERENCE LISTENING 55<\/h3>\n
      Acoustic setup of studio 56<\/div>\n
      Sound Insulation 57<\/div>\n
      Internal treatment 58<\/div>\n
      The 66 monitors<\/div>\n
      Big and near-field monitors 66<\/div>\n
      Closed and reflex speakers 66<\/div>\n
      The subwoofer 68<\/div>\n
      Speaker placement 70<\/div>\n
      Subwoofer placement and phasing with room 75<\/div>\n
      Subwoofer volume and its phasing with the speakers 76<\/div>\n
      Position of the listening point 76<\/div>\n
      Corrective Equalization 79<\/div>\n
      Acoustic perception 80<\/div>\n
      The Deception of Volume 81<\/div>\n
      What happens at high volume 81<\/div>\n
      What happens at low volume 82<\/div>\n
      Reference volumes 83<\/div>\n
      Reference mix at 85dB 83<\/div>\n
      Working at 70 db 83<\/div>\n
      Compare at 60 and 110 db 84<\/div>\n
      Critical listening to the various volumes 84<\/div>\n
      A different finalization volume for each musical genre 84<\/div>\n
      Let's not ruin our hearing 84<\/div>\n
      Other listening tests 85<\/div>\n
      Headphone monitoring 85<\/div>\n
      All 87 listening tests<\/div>\n
      Avoid psychoacoustic adaptation 88<\/div>\n
      Technical listening and relaxing listening 89<\/div>\n
      Narrowband Monitoring 89<\/div>\n
      Alternative Monitors 91<\/div>\n

      A THREE-DIMENSIONAL MIX 92<\/h3>\n
      Sound front 93<\/div>\n
      Monophony 93<\/div>\n
      Stereophony 93<\/div>\n
      Surround 94<\/div>\n
      Hierarchy of mix elements 95<\/div>\n
      Masking 98<\/div>\n
      Tonal Interlocking 99<\/div>\n
      Dynamic Interlocking 106<\/div>\n
      Respect for dynamics 106<\/div>\n
      The task of compression 106<\/div>\n
      Sound field 108<\/div>\n
      Sound field front width 109<\/div>\n
      Soundstage depth 110<\/div>\n

      Part B *** OPERATION IN MIX 115<\/h2>\n

      ORGANIZE SESSION 116<\/h3>\n
      Number of Bits 117<\/div>\n
      Sampling frequency 118<\/div>\n
      export tracks from the recording timeline 119<\/div>\n
      Import tracks to the new timeline 120<\/div>\n
      Organize tracks AND GROUPS 120<\/div>\n
      Organizing Tracks 120<\/div>\n
      Organizing groups 122<\/div>\n
      Small preliminary operations 124<\/div>\n
      Phase coherence 125<\/div>\n

      OPERATIONAL SEQUENCE IN MIX 127<\/h3>\n
      Mix 127 Timeline<\/div>\n
      Conclusion 130<\/div>\n

      LISTENING AND LEVELLING TRACKS 131<\/h3>\n

      GAIN STAGING IN THE MIX 132<\/h3>\n
      A lightning rod for distortion 133<\/div>\n
      A huge dynamic 134<\/div>\n
      Audio levels in tracks and groups 135<\/div>\n
      The VU meter 136<\/div>\n
      Managing tracks inherited from Recording 137's engineer<\/div>\n
      Groups and subgroups 137<\/div>\n
      Input and output levels in plugins 137<\/div>\n
      Mastering Delivery Volume 139<\/div>\n
      Gain staging in monitoring 139<\/div>\n

      LEVELING AND PRELIMINARY EDITING 141<\/h3>\n
      Preliminary Leveling 141<\/div>\n
      Volume Imbalances 142<\/div>\n
      Significant tonal imbalances 144<\/div>\n
      Imbalances caused by differences in ambient sound 144<\/div>\n
      Imbalances caused by tonal, dynamic and environmental causes together 144<\/div>\n
      Preliminary Editing 145<\/div>\n
      Tuning 145<\/div>\n
      Timing 148<\/div>\n
      Cleaning 150<\/div>\n
      Fading 151<\/div>\n

      TRANSIENT ALIGNMENT AND PHASING 152<\/h3>\n
      stereo track phasing 152<\/div>\n
      Phase inversion 153<\/div>\n
      Phase Coherence Optimization 153<\/div>\n
      Phasing a multiple shot 155<\/div>\n
      Double miking phase shifts 156<\/div>\n
      Phasing a 160-microphone percussion set<\/div>\n

      TONE CONTROL 163<\/h3>\n
      Harmonic Spectrum and Spectrum Analyzer 164<\/div>\n
      Tone Processors 165<\/div>\n
      Equalizer Action 165<\/div>\n
      Equalizer Types 166<\/div>\n
      Shelve and Peak Equalizers 171<\/div>\n
      HPF and LPF 173<\/div>\n
      Notch filtering 175<\/div>\n
      Eq 176 Plugin Conformation<\/div>\n

      PRELIMINARY EQUALIZATION 179<\/h3>\n
      Sound Optimization in the Analog Age 180<\/div>\n
      Why use a precise equalizer for the preliminary EQ 183<\/div>\n
      Preliminary EQ for Melodic Instruments 184<\/div>\n
      Preliminary EQ for Drums 189<\/div>\n

      THE ESSENTIAL MIX 190<\/h3>\n
      A two-move mix 190<\/div>\n
      Introduction to the Essential Mix 191<\/div>\n
      Identifying the primary elements 192<\/div>\n
      Unleash Creativity 193<\/div>\n

      THE COMPLETE MIX 195<\/h3>\n
      Mix Equalization 198<\/div>\n
      Purpose of mix equalization 199<\/div>\n
      Tonal operations that can be performed in the mix 199<\/div>\n
      Masking and highlighting equalization 199<\/div>\n
      Static EQ vs. Masking 200<\/div>\n
      Dynamic EQ against masking 202<\/div>\n
      Hierarchy of elements in de-masking 204<\/div>\n
      Cosmetic Equalization 204<\/div>\n

      DYNAMIC CONTROL 206<\/h3>\n
      Dynamic Processors 207<\/div>\n
      Dynamic processes 208<\/div>\n
      Compressor and Limiter Controls 210<\/div>\n
      Expander and Gate Controls 214<\/div>\n
      Dynamic Tone Processors 217<\/div>\n
      Basic Dynamic Processing Techniques 219<\/div>\n
      Gating 220<\/div>\n
      Isolate tracks 220<\/div>\n
      Reduce noise and other disturbances 224<\/div>\n
      Limiting 225<\/div>\n
      Definition and usefulness of brickwall limiting 225<\/div>\n
      Plugin Selection 227<\/div>\n
      Operation 227<\/div>\n
      Modeling 228<\/div>\n
      Enhance transients 230<\/div>\n
      Attenuate transients and accentuate the sustain of the tail 234<\/div>\n
      Shorten the sustain 235<\/div>\n
      Side effects of modeling expansion 236<\/div>\n
      Modeling Transients with a Transient Shaper 237<\/div>\n
      Leveling 240<\/div>\n
      Compression and Expansion: Roles and Risks in Leveling 241<\/div>\n
      Pre-leveling actions 245<\/div>\n
      Compress parallel 246<\/div>\n
      Soloist Leveling with Double Compression 249<\/div>\n
      Leveling bass and bass drum 253<\/div>\n
      Leveling the background elements 255<\/div>\n
      Leveling a group 255<\/div>\n
      Level the entire mix 257<\/div>\n
      Leveling out submerged phrases step by step 258<\/div>\n
      Side chain leveling 259<\/div>\n
      Unzip an overly compressed track 262<\/div>\n
      Increasing the dynamic accents of a performance 263<\/div>\n
      Mixed techniques 266<\/div>\n
      Contemporary modeling and leveling 266<\/div>\n
      Stressful parallel compression 266<\/div>\n
      Smoothing Compression 267<\/div>\n
      De-essing 269<\/div>\n
      Bass Maximization 272<\/div>\n
      The physical principle 273<\/div>\n
      The solution in a specific processor 273<\/div>\n
      How to operate 275<\/div>\n
      Conclusion 276<\/div>\n

      HARMONIC ENRICHMENT 278<\/h3>\n
      Harmonic enrichment with Eq 278<\/div>\n
      Harmonic Saturation 279<\/div>\n
      Post-recording analog saturation with the 280 preamp<\/div>\n
      Saturation with plugins 281<\/div>\n
      Traditional Exciters 284<\/div>\n
      Special enrichers 285<\/div>\n

      SETTING PROCESSES 287<\/h3>\n
      Echo and Delay 289<\/div>\n
      Eco 290<\/div>\n
      Delay 290<\/div>\n
      How to install a 290 echo-delay processor<\/div>\n
      Delay Control Parameters 291<\/div>\n
      Effect of delay on the mix 296<\/div>\n
      Reverb 297<\/div>\n
      Dry \u2013 Wet 297<\/div>\n
      The three dimensions of ambient sound 297<\/div>\n
      Convolution Reverb 298<\/div>\n
      Reverb Controls 300<\/div>\n
      Effect of reverb on the mix 304<\/div>\n
      Doppler 311<\/div>\n

      OTHER PROCESSES AND PROCESSORS 313<\/h3>\n

      SPATIAL DIMENSIONS IN MIX 315<\/h3>\n
      Acoustic space and spatial map 316<\/div>\n
      The dimensions of the acoustic space 317<\/div>\n
      Manageable sound dimensions in stereo acoustic space 317<\/div>\n
      tools for managing spatiality ACOUSTICS 318<\/div>\n
      Managing the width of the acoustic field 319<\/div>\n
      Managing the depth of the acoustic field 326<\/div>\n
      Resources for managing the width and depth of the acoustic field 329<\/div>\n
      The third dimension of the acoustic field 333<\/div>\n
      Example of spatial distribution of mix elements 334<\/div>\n
      The rear front 342<\/div>\n

      FINAL FINISHES 344<\/h3>\n
      Take a break 344<\/div>\n
      Refine the mix 345<\/div>\n
      Volume and Faders 346<\/div>\n
      Equalization highlighting 346<\/div>\n
      Compression highlight 347<\/div>\n
      Prominent Expansion 347<\/div>\n
      Final critical listening 348<\/div>\n

      DIFFERENT VERSIONS OF MIX 349<\/h3>\n
      An alternative mix 350<\/div>\n

      EXPORTING MIX 354<\/h3>\n
      Intended uses of mix 355<\/div>\n
      Direct use without mastering 355<\/div>\n
      Mastering and Archive 355<\/div>\n
      Stem Mastering 356<\/div>\n
      Backing tracks for live use 357<\/div>\n
      Click sequences for live use 357<\/div>\n
      Mastering Notes 358<\/div>\n
      Naming files correctly 358<\/div>\n
      Send notes 358<\/div>\n
      Mix 359 Review<\/div>\n

      Part C *** TREATMENT OF THE ELEMENTS OF THE MIX 361<\/h2>\n

      SOLO VOICE 363<\/h3>\n
      Initial management of voice volume 363<\/div>\n
      The ex editing imbalances 363<\/div>\n
      Performance Imbalances and Vocal Leveling 364<\/div>\n
      Tonal balance 366<\/div>\n
      Preliminary equalization 366<\/div>\n
      Dynamic-tonal smoothing 373<\/div>\n
      Dynamic Leveling 375<\/div>\n
      Double and triple compression 376<\/div>\n
      Parallel Compression 383<\/div>\n
      On face 386 voice compression<\/div>\n
      Tonal adjustments in mix 387<\/div>\n
      Mix Equalization 387<\/div>\n
      Enhancement 389<\/div>\n
      Harmonic Saturation 389<\/div>\n
      A dynamic contextual dimension 390<\/div>\n
      De-Essing 391<\/div>\n
      Setting 395<\/div>\n
      Delay and Chorus 402<\/div>\n
      The volume control for the lead vocal in the 404 mix<\/div>\n
      Final checks of volume 408<\/div>\n
      Final management of voice volume 414<\/div>\n

      BASS AND DOUBLE BASS 415<\/h3>\n
      Preliminary equalization 415<\/div>\n
      Mix Equalization 416<\/div>\n
      A good fit with the 416 bass<\/div>\n
      Controlling Dynamics in the Bass 421<\/div>\n
      Dyn 422<\/div>\n

      BATTERY 424<\/h3>\n
      Gate 424<\/div>\n
      Considerations for using Gate 425<\/div>\n
      Gate 426 Controls<\/div>\n
      Using the Gate for the 430 Drums<\/div>\n
      Manual gating of tom tracks 434<\/div>\n
      The gate for the bass drum 435<\/div>\n
      The gate for the snare drum 437<\/div>\n
      The gate for cymbals recorded with close mics 438<\/div>\n
      The gate in purist music 440<\/div>\n
      Preliminary Equalization 441<\/div>\n
      Bass drum 443<\/div>\n
      Parallel Compression 443<\/div>\n
      Double track 443<\/div>\n
      Preliminary equalization for the bass drum 447<\/div>\n
      Mix EQ for the 450 bass drum<\/div>\n
      Dynamic Control 457<\/div>\n
      Modeling 465<\/div>\n
      Dynamic balance between bass drum and bass 470<\/div>\n
      Sound field 473<\/div>\n
      Snare Drum 475<\/div>\n
      Double track 475<\/div>\n
      Preliminary equalization 478<\/div>\n
      Mix Equalization 481<\/div>\n
      Dynamic Control 485<\/div>\n
      Modeling 489<\/div>\n
      Sound Field 494<\/div>\n
      Hi Hat 496<\/div>\n
      Preliminary equalization 496<\/div>\n
      Mix Equalization 497<\/div>\n
      TomTom and Timpano 499<\/div>\n
      Double track for each drum 499<\/div>\n
      Preliminary Equalization 500<\/div>\n
      501 Mix EQ<\/div>\n
      Dynamic Control 506<\/div>\n
      Sound field 512<\/div>\n
      Overheads 513<\/div>\n
      Resumption of the environment 515<\/div>\n
      Stressed Drums 515<\/div>\n

      PIANO 518<\/h3>\n
      The function of the 520 tracks<\/div>\n
      Mixing criteria with piano tracks 521<\/div>\n
      Preliminary equalization of plan 523<\/div>\n
      Mix of the 523 piano tracks<\/div>\n
      Parallel compression 524<\/div>\n
      Piano sound characters and mix eq 524<\/div>\n

      GUITARS 526<\/h3>\n
      The Queen of Pop 526<\/div>\n
      Phase control 526<\/div>\n
      Different colors in tracks 528<\/div>\n
      Preliminary equalization 529<\/div>\n
      Cutting with the HPF 529<\/div>\n
      Eliminate resonances 530<\/div>\n
      Adjusting the strumming 532<\/div>\n
      Preliminary Limiting 534<\/div>\n
      The shaping compression 534<\/div>\n
      Leveling Compression 534<\/div>\n
      The guitar in the mix in general 535<\/div>\n
      The 535 bass<\/div>\n
      The Acoustic Mud 536<\/div>\n
      The bottom 536<\/div>\n
      The medium 536<\/div>\n
      The light band 536<\/div>\n
      The Biting 536<\/div>\n
      The Argentine band 537<\/div>\n
      The electric guitar in mix 538<\/div>\n
      Amp and Cabinet Selection and Simulation 538<\/div>\n
      Layered Compression 539<\/div>\n
      Panning Management 542<\/div>\n
      Natural Panning 542<\/div>\n
      Artificial panning generation 543<\/div>\n
      Adjusting Electric Guitars 545<\/div>\n
      The Electric Solos 545<\/div>\n
      Heavy Electric Rhythms 546<\/div>\n
      The sustained distorted guitars 547<\/div>\n
      The fast and \u201chard\u201d rhythms 547<\/div>\n

      ORCHESTRAL SECTIONS 548<\/h3>\n
      Soloists 548<\/div>\n
      Preliminary interventions 549<\/div>\n
      Posthumous interventions 549<\/div>\n
      Tools in Section 550<\/div>\n

      Part D *** TIPS IN PILLS 553<\/h2>\n

      COMPRESSION 554<\/h3>\n
      Make friends with side-chaning 554<\/div>\n

      PHASES AND TRANSIENTS 555<\/h3>\n
      Check for phase 555 problems<\/div>\n

      ENVIRONMENTAL EFFECTS 556<\/h3>\n
      Put the 556 reverb on a diet<\/div>\n

      ENHANCING 557<\/h3>\n
      How to Break Through the Wall of Sound in the 557 Mix<\/div>\n

      EQUALIZATION 558<\/h3>\n
      Saving money by using Eq 558<\/div>\n

      MIX 562<\/h3>\n
      Listening volume too high 562<\/div>\n
      Does it sound better at high volume? No! 562<\/div>\n
      Ear Tiredness 563<\/div>\n
      Don't trust your monitoring too much 563<\/div>\n
      Run the mix with the finalization filters inserted 564<\/div>\n
      Widens the stereo of double tracks 565<\/div>\n
      Automation before 566 compression<\/div>\n
      Beginner's Mistakes in Mixing 567<\/div>\n
      Tips for the beginner to mix 571<\/div>\n
      The voices in mix 572<\/div>\n
      Stereo Expansion 573<\/div>\n
      Acoustics of room 573<\/div>\n
      Parallel Compression 574<\/div>\n
      Vocal EQ Tips 574<\/div>\n
      Voice Frequency Guide 575<\/div>\n
      The bass in the 576 mix<\/div>\n
      Dynamic Processing 578<\/div>\n
      Warming up the sound 579<\/div>\n
      Side chain between bass and kick to fine tune the low end 580<\/div>\n
      Bass Frequency Band Guide 580<\/div>\n
      The drums in the mix 581<\/div>\n
      Guitars and then guitars 584<\/div>\n

      MONITORING 585<\/h3>\n
      Listen with the ears of the public 585<\/div>\n
      Don't overuse the "Solo" button 586<\/div>\n

      CONCEPTUAL PILLS FROM GREAT EXPERTS 587

      <\/h3>\n

      \"\"<\/strong><\/p>\n<\/div>\n

      \n

       <\/p>\n<\/div>\n<\/section>\n<\/div>","protected":false},"excerpt":{"rendered":"

      \u20ac39.00 \u2013 <\/strong><\/span>New Edition No. 3 \u2013 September 2022<\/strong><\/p>\n

      \u2714 Bestseller on Amazon (Nov 2022\u2013Jan 2023) in Music Recording and Audio<\/em><\/p>\n

      \"\"<\/em><\/p>\n

      By purchasing here on the author's website, you get a significant discount compared to the price of the paperback version on Amazon. Inside the book, you'll find a free coupon for the Sound Engineer Glossary<\/em><\/strong><\/p>","protected":false},"featured_media":1213,"comment_status":"open","ping_status":"closed","template":"","meta":[],"product_brand":[],"product_cat":[69,70],"product_tag":[],"class_list":["post-1212","product","type-product","status-publish","has-post-thumbnail","product_cat-libri","product_cat-libri-e-manuali-di-audio","first","instock","sale","purchasable","product-type-simple"],"post_mailing_queue_ids":[],"_links":{"self":[{"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/product\/1212","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/product"}],"about":[{"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/types\/product"}],"replies":[{"embeddable":true,"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/comments?post=1212"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/media\/1213"}],"wp:attachment":[{"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/media?parent=1212"}],"wp:term":[{"taxonomy":"product_brand","embeddable":true,"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/product_brand?post=1212"},{"taxonomy":"product_cat","embeddable":true,"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/product_cat?post=1212"},{"taxonomy":"product_tag","embeddable":true,"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/product_tag?post=1212"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}