Helping Things Fit
Lawrence’s house mix centers on putting the elements in what he calls “frequency pockets,” elaborating, “The drums, guitars, keys and vocals all resonate at different frequencies. So if you’re just trying to turn things up and balance levels in the mix, it’s going to hurt to listen to something that’s not in its own ‘pocket.’
“In addition, each of the five vocalists in Fifth Harmony has her own voice, with its own characteristic resonance,” he continues. “Finding that resonance, that frequency – and knowing when to pull it back or when to emphasize it – is a big part of how I mix.”
The dLive’s multi-band compressor plays a key role in this strategy. “One of the vocalists has a low voice that resonates around 250 Hz, so I have a multi-band compressor cued up pretty tight on her voice to control that frequency without changing her overall level very much. The voices of the others resonate at different frequencies, so I set up multi-band compressors to let their respective frequencies ‘breath around’ each other, each staying nicely in its pocket while all of them are blended in the audience mix.”
He’s also a “big fan” of dbx 160x compression, applying the dLive’s 16T emulation of that classic analog device to each vocal for added warmth. Further, select songs are treated with one of the console’s built-in reverb or echo effects for individual voices or for the mix as a whole.
Every show is recorded to Waves Tracks Live, fed from the dLive’s Dante output. These “dry” multi-track recordings provide a valuable reference that allows Lawrence to adjust settings and generally “grade my own paper.” Prior to the group’s live sound check for each show, he plays back previous recordings in a virtual sound check that helps with dialing things in ahead of time. The recorded tracks also allow him to listen to the main system without the impact of a previous venue’s acoustics.
“The way I mix is very analog,” Lawrence states, but he also prefers to take advantage of a modern digital console platform. For example, he saves each show as a dLive “scene,” ready to be called up the next time he visits a similar venue, serving as a good starting point.
He also utilizes dLive’s layers, specifically three of them. Frequently accessed mics, effects returns and output masters go on the top layer, with things like the band’s mics and direct feeds residing on lower layers. “I can hide things that I don’t need to see all the time,” he explains, “but I can control them as a group via a DCA on the top layer.”
The drag-and-drop touch screens of the control surface also help streamline setup. They enhance consistency in general while also specifically being an asset in his “frequency pockets” approach. “I can drag a frequency with my finger while I’m listening to one of the vocals,” he says, making the process more efficient and effective at the same time.
Bolstering Confidence
Wrapping up our conversation, Lawrence observes it takes the combination of the talents of two types of people to make the live audio experience really work on a tour like this. One type is the technical wizards, like Moore, who sets up the system and makes it sound great even in difficult venues and logistical situations, and Turner, who manages multiple wireless frequencies in crowded urban RF environments.
The other type is more of an artist who uses the technology to optimize and present performances in such a way as to foster consistent – and memorable – audience experiences. Lawrence puts himself in this second camp, noting that in addition to mixing skills there must be the ability to build good relationships with the performers, to listen to them and hear the natural resonances in their voices, to know when they’re fatigued from multiple performances or jet-lagged from long flights, and to understand how to best use the technology to support them no matter the case.
In other words, when one of Fifth Harmony’s vocalists recently told an audience, ‘We promise to give you 110 percent tonight,’ she and the rest of group could perform confidently knowing that Lawrence and his fellow audio crew members would give them exactly the support they needed to deliver on that promise.
Chris Foreman has worked in professional audio for more than 50 years in a wide range of roles, ranging from mixing to manufacturing to management.