Wednesday, June 30, 2010
Successful Sound Mixing Starts With The Right Recipe
A recipe is a list of ingredients and directions, usually thought of as applying to food. But there are also recipes that can be used to create a successful sound mix as well.It takes the right blend of quality ingredients and salient directions to produce the best results from any recipe.
If a dessert recipe calls for cream, it’s not essential to use Alpine milk from hand-milked Bavarian cows, but using skim milk instead of cream may jeopardize the final results.
The same holds true for sound reinforcement. A microphone for a singing vocalist that’s substituted with a pulpit microphone designed for spoken word simply isn’t the right ingredient for the recipe. It won’t help attain the desired result.
The bottom line is that all sound system components should be of as high of quality as possible.
There also needs to be an understanding of the expectations of those who are going to taste the results. For example, a chef may like extra spicy food.
But when preparing food for others, the chef must take into consideration the guests for whom the food is being prepared, and may need to slightly vary the recipe.
Further, and absolutely vital: before using any recipe, the sound operator must communicate with everyone involved with a performance, both spoken word and musical.
They must understand that a given recipe may take several attempts before it produces the desired results. This process requires extra time, effort and patience on everybody’s part.
Just as you wouldn’t start a food recipe 10 minutes before it needs to be served, don’t wait for dress rehearsals or worship services to start building your sound mix.
Vital point: Always seek natural acoustical solutions before adding more sound reinforcement, i.e., system components and increasing volume levels. Too much can lead to a big mess!
Multiple Layers
Let’s start with the basics. It’s vital to understand the acoustical elements of the sound mix and their effect on each other.
Think of it as a multi-layer cake. This represents the concept that each layer builds on the other, while they all work together to create a desired outcome.
It should be pointed out that all of these layers might not be used or needed. However, the principles remain the same.
The amount of ambient noise in the room establishes the base layer of sound.
In other words, the air system, conversations, people moving, etc., create noise the sound system must overcome. Ambient noise will also change overall levels.
For example, an empty room is much quieter than one filled with people.
The second layer consists of acoustical instruments. It’s important to first begin with main instrument(s) like acoustical piano and/or guitar(s), then add drums, and finally, any other acoustical instruments.
Begin with the pianist playing a selection. Then the guitarist should join after the first verse.
If the guitar can’t be heard clearly, it may be necessary to reposition the guitarist.
If the guitar is still not loud enough, then a microphone might need to be added.
If drums are part of the performance, again begin with the piano playing, then guitar. After a minute or two, start the drummer.
Listen first to determine if the piano and guitar can still be heard.
Hint: the higher octaves of the piano are usually easier to hear above other instruments.
If either lead instrument starts to get buried, try moving the drums further back on the platform and/or enclosing them with isolation panels.
As a last resort, gradually increase the microphone level on the piano and guitar. Then, add any other acoustical instruments, including backing guitars, woodwinds and brass.
The third layer consists of electronic instruments such as keyboards, electronic guitars, bass guitars, acoustic instruments with electronic pickups, electronic drums, and so on.
Using the same procedure as before, begin with piano, and then add electronic keyboards to the mix. (By the way, the drummer and other acoustical players can take a break - they aren’t necessary at this particular point.)
Continue by adding other electronic instruments. When it’s at a satisfactory point, take a break of your own. Leave the room and enjoy five minutes of silence, then come back and evaluate the entire instrumental mix.
Last, but certainly not least, come the vocals. Begin with the background vocals, adding them one at a time, just as was done with instruments.
The topping is the primary vocalist(s), who must be heard and understood above all other aspects of the performance.
Keep in Mind
- Always listen for what is too loud as well as what is too soft.
- If a musician or vocalist expresses need to hear more monitor level, first try turning down other monitors (and instrument amps).
- Make level changes to the monitor mix or channel gain/trim control when the musician or vocalist is not active.
- Any changes should be small and gradual.
- Occasionally turn down the master levels for the main system and listen to the monitor system to evaluate its loudness - the monitors may be negatively impacting the main system.
- Regularly walk through the first few rows of seats to evaluate monitor versus main levels.
- If your church primarily features a rhythm band, drums and bass form the layer above the ambient noise, followed by rhythm guitar(s) and keyboards, then lead guitar and other lead instruments, with vocals on top.
- Become familiar with every song – for example, understand that lead guitar may need to jump to the top layer during an instrumental break, and don’t let this come as a surprise!
Travis Ludwig is a faculty member of the Internet Sound Institute.
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