The aux mix is basically a monitor mix for the broadcast feed, while the group/matrix mix is a different thing altogether. Let’s dig into using one or the other.
Considering the implications and merits of high-pass filters and aux-fed subwoofers as primary defensive strategies.
There’s often value in using bus compression artistically – a compressor can have very unique “sounds” due to its design that can enhance the mix.
Introducing two solid, straightforward approaches for successful online mixes as well as detailing one that it’s usually best to avoid.
Building simple, clear show files will help your show run more smoothly and provide a solid foundation to build more complex ones when you need them. (A downloadable audio version of this article is also available.)
A perfect show has all the gear and info we need with plenty of time to work, but that’s as common as a unicorn dancing on a pot of gold beneath a rainbow.
A brief tour of a mix engineer’s labeling conventions, configuration habits and custom zero scenes for his digital consoles.
The primary objective in monitor world is making sure the artists on stage are as comfortable as possible so they can focus on the performance, not the sound.
Considering the different types of preparation we can make to mix with excellence on single events as well as the long-term tours.
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