Eddie Caipo (monitors): Large channel counts can sometimes be challenging with small console surfaces. What I find to be a great way of organizing a large channel count is the Layout or Fader Banks feature, where I can create a collection of faders in any order and/or combination (ins/outs/VCAs/sends etc.) with my most important channels on a per-song basis, so I have what I need, when I need it, right in front of me.
When mixing FOH, I use both VCAs and groups – usually two groups for drums. Group 1 has the whole kit and Group 2 is the kit minus cymbals and hi-hat, which is pretty “squashed” (heavily compressed). I blend that with Group 1 for a punchier more “in your face” drum sound with parallel processing. Group 3 is bass (DI+Amp+FX), 4 is Guitars, 5 is Keys, 6 is Background Vocals, 7 is Lead Vocal and 8 is FX. My VCAs are very similar: 1 is Drums, 2 is Bass, 3 is Guitars, 4 is Keys, 5 is Playback, 6 is Background Vocals, 7 is Lead Vocals and 8 is FX.
When mixing monitors – and if my star’s IEMs are on the Main L-R outputs – I use groups and VCAs the same way I do when mixing FOH. But if I have all the IEM mixes on Aux only, then I just use the inputs on sends on fader to mix. That said, the Avid S6L now offers VCAs on Aux sends when on Sends on Fader mode. Say the guitar player asks me to bring all the drums up but leave the blend as is. Instead of grabbing all drum faders and moving them. I can assign them to a VCA and it will act as a trim for that mix without affecting the Main faders (since I run my Auxes on post). I find this feature to be brilliant.
Using groups and VCAs (or DCAs) helps me consolidate all inputs in a more organized manner, allowing me to make broad strokes when it comes to the music and vocal balance. With groups, I love processing them to create a certain color for the overall sound of that group, allowing me to glue the instruments in that group without having to use too much EQ or compression on the individual channels.
Scott Mullane (FOH): I try as much as possible to lay out the console with as much of the “money channels” and channels that require constant attention on one layer. I achieve this in a kind of backwards way, laying out the top layers as I would a standard festival patch, which usually leaves one or two layers empty at the bottom of the console. So, I make the bottom layer my “money layer.” I do this because I spend so much time on festival patches and smaller band layouts that my brain is used to this layout, so I leave the top layers in this type of configuration. I’m used to it and I don’t have to think about it.
I then decide on how I group the inputs and prioritize the DCAs to a top control layer on one center bank of faders. Drums, Guitars, Keyboards, DIs, Strings, Choir, Vocals, Background Vocals, Media, FX, etc. These DCAs are my main control for the mix and DCA spill becomes the fastest way to access anything on the board no matter where it is. I’m not a huge user of subgroups, with usually only three to four in my layout. However, I assess if any of the instrument groups will be best served with group processing such as EQ and compression. Instrument groups like strings, choirs etc. are served well sometimes with a simple group EQ.
So, console layout, DCA assignment and group assignment in that order are my priority when planning and programming my console. DCA spill is my best friend when mixing. The mix itself, like any mix requires the same attention to space and musicality, leaving space for the key instrument which are still likely to be vocals.
Scott Holtzman (FOH): The key to handling large channel counts is organization. Start with a plan, study the input list and create meaningful groups not just on instrument type but also tonal grouping. For example, putting drums, bass and low-end synths on one group, strings in another, then brass. Lead instruments and vocal will need their own faders.
Once you create groups, DCAs and subgroups are the next piece of the puzzle. They allow the logical groups you created to be managed with a single fader. Lastly, create custom fader layers that put together the groups and lead faders so you have access to the majority of the mix on one layer.
If an orchestra is part of the production, consider a second desk and mix engineer for the orchestra mix. The main mix then only has to deal with the input from the orchestra engineer. This approach also works in theatrical productions.
Speaking of theater, managing large amounts of wireless systems is a difficult challenge. Consider using multiple mute groups, organized by scene. The mute groups allow you to focus on your active channel faders for your line by line mixing.
Often, high channel counts are the result of multiple acts at festivals. Organization needs to extend to the stage. Label everything! Use multiple sub-snakes, and if feasible, swap multipins for drum risers or other moving elements.
Dave Natale (FOH): When using one of my usual PM4000 analog boards, I assign all of the channels directly to the Stereo Mix Bus – I don’t use audio subgroups, but rather, the eight VCAs. The PM4000s that I work with have 40 mono and 12 stereo channels for a total of 64 channels in one frame. (I’m not even sure if 64 channels is considered a large amount these days.)
However, in the past, I’ve utilized two PM4000s for Fleetwood Mac and Motley Crüe, for example. Even in these rare situations where the channel count can go as high as 128 over the two consoles, I still only use the eight VCAs. The PM4000 has the ability to link the Audio Subs, Mute Groups and VCAs between both of the consoles so that either can be designated as the master, controlling it and the other console.
When I’m absolutely forced to use a digital console, I arrange all of the input channels in a way that makes sense to me on the layers, but since I find mixing on 24 faders a completely silly and foreign way to mix, I rely on the 12 DCAs so that I don’t have to waste too much time and watch too many cues go roaring past while I’m looking around for things. Over the past 10-plus years, I’ve seen far too many engineers blow what could be an actual audio mixing cue(s) because they’re searching for an input channel or fooling around pretending that they can hear the difference that they think that their plugins are making.
I know that everyone has their own opinions, but I still maintain that I can move around faster doing a mix on analog consoles than anyone else would be changing layers on a digital console. I’d also like to point out that I do whatever I can in order to keep the channel count down. I’ve had the good fortune of not having been subjected to mixing a band that needs Pro Tools (for one reason or the another…).