Mix Essentials: Relationships in the Mix Part 1

Mixing audio is very much a social experience. Relationships within the mix are very present along with so many variables that come into play in order to create a balanced and vibrant audio mix.  From room size vs. PA Strength, to mix position vs. PA location, to the band location vs. PA location, there are a myriad of issues to work through before you even turn the sound system on. In this four part series I want to take a look at some of those relationships both globally at the room/studio and gear level, the micro relationships that happen within the mix.  This week we will be talking about those macro level relationships. All of these relationships should not only be present in any mix, but they should be in balance as well.

The first ‘global’ relationship that I wanted to highlight is where the vocals sit in the mix. So many people have different ideas but I think it comes down to philosophy and artist preference. In houses of worship for instance, vocal intelligibility is king. The lead vocalist needs to be on top and easy to understand whereas at a touring concert where the words aren’t as important, you’ll hear a lot of engineers mix the vocals down in the mix more. Finding out what your worship leader or recording artists wants is key here and it can be as easy as having a conversation and seeing what they are feeling for that particular song. Where I work, often the first situation is the way it needs to be. With that in mind, everything I mix needs to be vocal centric. With that in mind I find myself biasing all FX and processing towards making those vocals as clear and as unobstructed as possible. We even use sidechained multiband compressors on busses to help carve out space for the vocals to sit in which allows us to be able to push guitars and drums and still have the vocals ever present and on top in the mix. But, there have also been times where I have found myself in the studio realizing that this one guitar part for a recording I’m working on needs to be up there with the vocal because the artist is heavily guitar inspired. This relationship often drives your mix so be sure you’ve established what that looks like before you get to far into getting everything set.

The second big global relationship that is really important is the relationship between the kick and bass. Because the basis of your sound starts from the bottom, this relationship is often front and center and is the driving force for the energy in your mix. Once again, it’s important to ask your artist or worship leader what they prefer, but more often than not, having that bass front and center and then the kick drum nesting in right next to it is the way to go. When I first started mixing I had this the other way. I was more interested in the percussive force than a sustained and controlled bottom end to my mix. But, the longer I’ve been mixing, I’ve learned that it’s better to bring consistency. I learned that not having it this way can lead to an off balance mix because you are basing your mix on percussive forces rather than consistent tones. Having that consistency has also broadened acceptance of my mix amongst more people. Often times when someone doesn’t like something it wasn’t the whole thing they disliked, it’s that something just stood out and made them uncomfortable because it was out of proportion. Switching this relationship around brings things back into order and in doing so helped my mix translate better to different volumes and conditions. Ultimately, this is why we need to make sure the relationships within our mix are where they need to be so that our mix turns out to be balanced and appropriate.

Lastly, the relationship to acoustic sources and amplified ones. No matter what you do whether in the studio or on stage, there will be bleed. You need to decide whether you’ll use it or cover it up. Many times when I’m mixing in small rooms and/or clubs and I have a drumset to contend with, I find myself unable to run the PA loud enough to cover it up so I have just have to use it. Mic the stuff you need to have clarity on and mix those mics in with the real thing. The same goes for things like electric guitar amps, organs/B3s, etc. If you can’t beat it, use it. Don’t get me wrong, this is no simple task. It takes a lot of walking around to make sure you still getting a balanced mix but it is possible and can make your life easier if there aren’t other options. The flip side of this argument is making sure your mix is loud enough to drown out the acoustic sounds of the guitars themselves or even of the piano if it’s being heavily processed. Often the biggest and sometimes overlooked acoustic source is the room itself. If there are few textiles in the room you will find yourself swimming in reverb. Be careful not to overlook this relationship as too much verb can drown any mix.

Over the next few weeks we will be discussing relationships that bring balance to your mix. Did I miss a relationship you see everyday when you mix? Comment below and let me know! Also, if this is your first visit to studiostagelive.com please feel free to subscribe at this link and you’ll get an email whenever we post new content.

Editorial: Fighting Against Mediocrity

Coming up on nearly 3 years of mixing FOH 4 out of every 6 weekends this issue has become something I have needed to keep on top of.  Whether or not you are in the studio, at FOH, mixing monitors, or doing whatever job you do, I feel like it will always be tempting to fall into a rut of just doing what it takes to get through the event, firmly planting yourself in mediocrity.

There has been more than one incidence in my time serving the church, now approaching 18 years, when I have been given more responsibility as I have improved and perhaps not carried that initial excitement and passion on throughout my time in that role.  For the first few weeks after each “promotion” I get excited again, improving constantly, fixing problems, paying super close attention through every part of the event, and just doing a great job. However, after some time, I could feel myself settling in, getting comfortable, and just resting on my momentum. I fall into a rut. I was still creating great balanced audio content, taking good care of my gear, and doing a good job, but I wasn’t pushing myself to grow and allowing myself to be challenged. I think there was a part of me that I was being content but I looking back on those times and realize that I wasn’t being content, I was being lazy.  I was created to do what I was doing and I wasn’t using all my gifts to their fullest capability.

Looking back on how I get out of that rut I can see a few habits that I think we as sound techs all need to be aware of so that we ourselves can stay ahead of the curve.

  1. Humility – This might be a little counter culture because of how most people see being humble but I truly think that we should always work with the mindset that we all have something to learn. Think about it, did you ever feel like you were standing on your heels when you were just learning your craft? Did you ever think that you are stagnant when you driving in to volunteer at that one event just so you can learn from that one sound guy? No, not at all. We all knew that we wanted to learn and absorb so maintaining that mindset is so important as we go about our careers. I put a lot of myself into what I do, both in team pride but also in personal investment. For that reason, I don’t see criticism like I should, I put on blinders sometimes and see it as an attack rather than a friend who is just trying to make sure I’ve taken something into account. It’s important for us all to take criticism well not only so we can grow but mostly so we can keep open lanes of discussion from the people we are working for or with. If we respond to every piece of advice with frustration or anger, people will simply stop talking to us thinking it will never matter. As audio technicians, we need to have the opposite attitude. People need to be able to come up to us and ask questions and see how things are without fear of frustrations. Plus, if we are approachable and take criticism, we allow ourselves to be pushed and grow, keeping us active and not stagnant.
  2. Keep a Log – I have just a simple text document that I put things in that I have noticed need to be fixed.  Than, when I have some spare time, I look to that list for how I can improve what goes on in my mixes.  If I’m really busy, I may not get to fixing too many problems but I try to make it a goal to just fix one problem every week. If I can do that, at the end of the year, I’ve solved 52 problems. Think about it, just one problem solved a week puts you 52 steps farther down the road if we can just do that one thing. I think this also prevents resentment from artists and fellow technicians over problems that just never get solved.
  3. Take Breaks – I think it’s important to take actual breaks where you hand off your responsibilities completely to someone else.  Whether in the studio, on the road, or on Sunday mornings, find someone on your team who can do what you do to give you a break every now and again. I mix FOH 4 of every 6 or so. Those other two weeks I am “supervising” and just making sure everything is sounding good. I usually take time this week to walk the room a bit during the service and walking around back stage, getting perspectives I wouldn’t get when I am limited to the console the rest of the time. That sixth or seventh week I try to schedule myself a break. Whether I just spend time with family, come in and just attend the service, or go somewhere else, I’m not doing what I usually do. This makes me want to mix again, and quite effectively. I come back from my one weekend off thirsty again which has been a healthy cycle for me to maintain.
  4. The Right Mindset – I recently was made aware of this article (go ahead and click on the link and read through it, it’s short). It talks about how we as technicians, regardless of what phase of production we are in, need to have as our mindset. The writer talks about his dream gig and how he tries to approach every event, whether big or small, with great gear or shoddy gear, every gig he walks into he shows up as if it was for Paul McCartney. Do do you this? Is every event or recording you make treated as if it was for your favorite A list artist? Is every service you do treated with the same importance as if it was Christmas or Easter?
  5. Push Your Team – Often we are influenced by those around us. If someone on the team acts a certain way and someone else starts acting that way it won’t be long until that potentially bad habit runs rampant. So there are two priorities here, the first is surrounding yourself with the people you’d like to be like. If you want to be an approachable person, surround yourself with people who you see as approachable. Secondly, don’t be afraid to call out mediocrity around you. Obviously, timing, relationships, and wording matters here, but if someone on your team is just sitting back and not pushing themselves, call them out on it, with respect and expect others to do this to you.
  6. Push Yourself – This one for me is easy. If I have a problem with a clear solution there is little to stop me from just fixing the issue. My fear of failure rarely holds me back. If I need to take my whole patch bay a part to fix a problem and get organized I will. I will plan well and make sure all my ducks in a row but when it’s time, you won’t find me thinking twice about getting started. While it’s important for us to not let fear keep us from improving it’s also important to not let laziness do this either. If you need to spend a few hours one week just playing around with an FX send you haven’t been happy with than make the time and do it don’t wait until you have nothing to do (trust me, in the audio world there is always something to do). If you need to setup a meeting with a co-worker to plan ahead on somethings so when the event or recording is happening you aren’t running around like a chicken with its’ head cut off than make it happen. If you have been using a plugin where a simpler tool would work better but you just use that preset because it’s easier, take the time during rehearsal to go about it the right way and get yourself started down a path of improvement not stagnancy.

Hopefully these six habits to start will help you as much as they have helped me. What do you do you do to keep growing to stay out of stagnancy? Let me know in the comments below. If you like what you are reading please feel free to subscribe at this link.

 

From the Booth: Episode 2 Easter 2018 – 04/01/2018

Throughout the year as I mix larger events I’ll be recording them and as many other things as I can manage and posting it here for you to watch and see how I do mix.  Occasionally I’ll be recording a soundcheck as well giving you even more opportunities to see into how we do things where I work at Christ Community Church.

Here are the particulars for this recording:

  1. This was our last Easter service at Christ Community Church and if you’d like you can watch the message given at this link. We didn’t have any extra additions to the band this time but we did have some extra tracks and extra time was spent both in rehearsals and the prep which brought the mix to a higher than normal level.
  2. The audio you hear is from the broadcast mix of the FOH console. This mix is built from my master bus with the FX turned down just a bit to help them sit better in a studio environment and that’s it. It’s not a perfect mix for broadcast but it does a good job at translating a mix designed for an auditorium down to a mix suitable for personal viewing.
  3.  You will see 4 videos in a matrix.  The top left video is my Smaart machine. The green is real-time, the orange is a 10 sec average of the real time, the red (if you even see it) is what is coming out of the console (you’ll typically only see if there is an issue with our gear which I don’t believe there was). The SPL number is 1 minute average which is how we measure the services. The top left is the broadcast video feed. Bottom left is basically what I see, that camera is looking over my shoulder and the bottom right is just a camera pointed at the console. This band was doing such a great job this weekend I really was only need to make minor adjustments and play around with FX and my VCAs on my right hand.
  4. Here is the general layout of the SSL L500+ that I’m operating.  Top left bank of faders generally sits on my drum inputs and drum FX feeds and can access my mixed outputs if need be.  The Left bank at my waist (left hand) is used for instruments and tracks and access my main outputs and groups if I need to check on something or make an adjustment.  The bank in front of me (right hand) is almost always on the VOX page of the console which also has my VCAs which allows me to quickly make larger mix changes. Please don’t hesitate to ask questions in the comments if you’d like to know more.
  5. There is a Waves SoundGrid running, look for future posts regarding how we use that.
  6. Song names are listed on the youtube page and all credit goes to the band for the performance, the song authors, and to God for allowing me to work with such a great team.

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