Live Sound: Tips for Getting a Good Mix
Abstract (summary)
The
author offers the following tips
for getting a good mix: (1) make sure that the singers use a microphone that
captures the best possible sound at front-of-house (FOH); (2) experiment with
microphone placement; (3) step away from the console and into the audience area
and listen to what the PA sounds are like out there; (4) take time to walk the
stage while the band is rehearsing or sound checking; (5) program effects ahead
of time; and (6) occasionally step back and listen to the system and the mix as
a whole.
Full Text
Know Your
Microphones
It's
great if you have the luxury of carrying your own mics. The consistency this
adds to your mix is
tremendous.
It's
important that your singer(s) uses a specific mic that captures the best
possible sound for you at FOH and delivers enough head room for the stage
monitors. Extend that thought to the rest of the instruments you have mics on.
During
sound check is the best time, and usually the only time, to check out some
different mics. Try setting up a second mic next to the one you usually use.
This way, you can A/B them to hear the differences between them. Sometimes it's
subtle, but you'll know it when you find just the right mic for that
instrument. Plan it out to minimize set up time and maximize listening time.
It's good to know your mics.
Mic Position
Now that
you have chosen your mics, experiment with mic position. Before you start to
equalize a channel, move the mic around first.
This is
the only way to find the sweet spot on whatever source it is you have a mic on.
For
example, you can put a set of microphones on a drumkit or a piano and get a
nice sound. Then you can move the mics around - change the angle or the
distance to the source and you can change the sound entirely. So once you find
that sweet spot, do everything you can to keep that mic in position. Drum
risers and percussion risers vibrate enough to rearrange your mics before the
end of the show and usually not for the better. Check that all mic stands and
moving parts are tight - tape the base of the stand down if you suspect they
will move even slightly.
Walk The
Room
At times
the FOH mix can be intense
and filled with cues that must be executed, so there's not much of a chance for
a walk around the room. Other times it's less demanding - the band's dynamics
are working and don't need any help from you. Use this time to step away from
the console and into the audience area and listen to what the PA sounds like
out there, or down there if you're on a riser.
At some
point the sound from the left and right PA will eventually meet. It's usually
down the centre of the venue where your mix position is. Personally, centre is not my favourite
position to mix from. Often
the exaggerated low end is deceiving and you can find yourself dialing up a
nice fat mix only to step
out to the left or right six songs into the show and discover that you're one
of the few enjoying that fat mix,
and the majority of the audience has been listening to this thin sound that
you're now hearing. There is no magic cure at this point. You must try to
please the masses right now. Make some changes at the console and step back
out. Repeat as necessary.
When you
know you will be mixing in
a bass tiap the best thing you can do is step out from behind the console early
and often in the show.
Your mix will remain essentially the
same but you will need to compensate for the lack of low end outside the mix position. You'll often find
spots like this in theaties where the mix
position is at the back of the hall. When mixing under a balcony you may not get the full effect of the
high end the PA is producing, so you will need to compensate for this the same
way. If you have a balcony fill, make the trip up to listen to them as well.
Typically, balcony fills will be time aligned but you won't know they're
working unless you get your ears up there.
Walk The
Stage
Take time
to walk the stage when the band is rehearsing or sound checking.
This will
refresh your ears to the sound of the source that you're mixing out front. There is also a
chance you'll find something that can improve separation or even eliminate
other sounds that are bleeding.
Use Your
Reference CDs
If you
don't have a loaded laptop with the latest sound measurement software, use your
personal CDs. By using the same CDs each time you set up you can get a good
idea of the system in general. Listen for the balance between highs, mids, low
mids, and subs. If the system is split up into different zones like front fill
and balcony, listen to each zone separately - you'll be able to tell if there
are any anomalies pretty easily.
Program
Your Effects
Set them
up before you start sound check so you can use them right away. You'll likely
need to make some adjustments, but there is nothing worse than wanting to add
some reverb right away and you look over to see three effects units with
nothing but delays programmed. You would now be searching for your favourite
reverb program instead of mixing.
Fresh
Ears For The Mil
Keeping
your ears fresh for the mix
is important. After mixing
the same show over and over, you want to occasionally step back and listen to
the system and the mix as a
whole. Make sure you still have the proper balance in the mains. You've been
listening to the same lyrics for months and know every word - remember this may
be the first time for the audience, so make sure you don't mix the vocals too low. Keep
yourself healthy: a head cold is a sound mixer's worst enemy. Also, save your
ears from any unnecessary high volume. If the DJ turns on the house system
after your show put some ear plugs in while you tear down. This will help
reduce fatigue. Hearing loss is irreversible and will only get worse over the
years, so do what you can to keep fresh ears.
AuthorAffiliation
Ken
McNeill is a veteran sound engineer and is Technical Coordinator at the Living
Arts Centre in Mississauga, ON.
Word
count: 1021
Indexing (details)
Location
Narrow
subject
Microphone
Placement, Soundchecks, Mixing (Recording), Sound
Quality, Advice, Performance
Preparation
Broad
subject
Title
Live Sound: Tips
for Getting a Good Mix
Author
Publication
title
Volume
Issue
Pages
60
Publication
year
2007
Publication
date
Mar 2007
Year
2007
Publisher
Norris-Whitney
Communications Inc
Place of
publication
Toronto,
Ont.
Country
of publication
Canada
Journal
subject
ISSN
0708-9635
Source
type
Magazines
Language
of publication
English
Document
type
Instruction/Guidelines
Document
feature
Photographs
ProQuest
document ID
1358925
Document
URL
http://search.proquest.com/docview/1358925?accountid=144516
Last
updated
2012-08-23
Database
International Index to Music Periodicals Full
Text
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