Mixing monitors for a solo artist and supporting band requires a specific set of skills that often have more to do with rehearsals and relationships than tech.
A method to get up and running at a gig as quickly as possible, catch potential problems early, and dial in a good mix, all without bugging the artists.
Working with some great DJs (as well as some not-so-great ones) got me thinking of things that I’ve noticed help the great ones stand out.
The bottom line is to never quit aspiring for more information and more experience. Never become stagnant. Always be moving, and always be striving.
From the archives of the late, great Recording Engineer/Producer (RE/P) magazine comes a wealth of knowledge about reverb. (July/August 1979 issue)
Having a step-by-step action plan along the lines of what’s outlined here can help you sort through the stress of the live environment and make things go more easily and smoothly come “crunch time.”
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.
There are four basic (yet key) areas of microphone technology and techniques to consider – let’s call them Pattern, Position, EQ and Processing.
Parallel processing, by definition, splits a signal and processes the copies separately, but there’s a sinister concern called “latency.”
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