Addressing everything that happens in the mix between the foundation and the vocals, which is extremely important if you want the song to sound musical and powerful.
My goal is simply to envision a healthy balance, do the best I can, and let it go if I fall a bit short. I’ve learned that I can’t focus too much on one activity for an entire day and neglect the other stuff…
Just because we’re able to add a microphone (or two) to every source on stage, does it mean we should?
Inside a method the author developed for fast adjustment of a noted guitarist’s tone during the course of shows.
How do we, as FOH engineers hired to make the artist sound great, approach advice given from that artist directly?
Experience with gear and software is very important, but one skill that’s sometimes overlooked – yet takes years to master – is the art of listening.
Whether on tour for months together or collaborating for a single day, mutual respect and a collective desire for superb audio should be at the heart of the partnership.
The good news is that with each audio “crash and burn” came lessons learned the hard way.
“To tilt or not to tilt? And if so, how much?” Gaining insights by focusing on the very critical crossover frequency area between the subs and the low-end of the main PA.
Some tips and tricks learned from many years behind the console that can assist musicians in sounding their very best in the house mix.
Paying as much attention to what comes off the backs of the loudspeakers as what comes out the front.
Simpler can be better, at least as a jumping off point to removing some clutter and complication from the mix.
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