LOUDNESS METERING :
Secrets to Aid Drive-In Concerts & Streaming Audio Production
By Wayne Hawthorne , P . Eng .
Over the last year , the audio production world has seen more and more livestreaming events take place . Many mixers who were used to mixing on large PA systems have had to adapt to a different way of thinking and figure out how to provide livestreaming audio .
As well , because necessity breeds invention , the pandemic also saw the concept of a drive-in concert quickly spread around the world . At these drive-in concerts , the ubiquitous PA system is either used at low volume or simply not used at all . Instead , the performance is “ broadcast ” over low-power FM systems to the car radios of the on-site attendees .
With the growth of these drive-in shows during the summer and the huge increase of livestreaming performances over the winter , more and more FOH mixers find themselves in a spot that they may not be used to – being a broadcast music mixer .
So , here I ’ ll presents some techniques to help FOH mixers change perspective and help with their livestreaming mix activities .
Mixing for broadcast isn ’ t really that different than mixing with a PA , right ? Well , not quite . There are indeed differences due to change of perspective .
FOH mixers generally have practical implications to contend with , like the size of the PA , how it ’ s hung , coverage , tuning , regional sound level restrictions , etc . Some of these issues are dealt with when the PA is designed and hung , while others are handled as the mix is built and tweaked during the soundcheck and show . Since the environment becomes part of the response of the system , that environment , whether it be outdoors or a room , influences the mix . As a result , the mixer may not add all elements coming from stage to the PA mix , and definitely not at the same level as would be for a broadcast . As well , the audience is able to physically experience the performance because they ’ re present in the space , which allows them buy into what the mixer is doing to match the sound to the experience .
In a broadcast mix , the perspective is a little different . Like in an FOH mix , a broadcast music mixer decides how and what elements of the onstage instrumentation are critical for the mix . They also , however , have to ensure the mix satisfies the visuals that are presented to the audience . In which case , the music mixer needs to handle one strange aspect : the sound needs to “ look ” right . What I mean is , the sound needs to satisfy the audience ’ s expectations of what they would hear if they were in the same space as the performance .
This means that those mixing for livestreaming and drive-in shows have to be aware of how the mix works in a context that FOH mixers normally aren ’ t concerned with . Panning instruments , for example , becomes more important as the audio needs to agree with the elements seen on screen .
As well , mixers also have to “ manufacture spaces .” For example , in a standard stage show , it ’ s common for mixers to add various reverb and delay effects to vocals during the song and remove them during stage banter . On a stream , however , this feels odd or unnatural . The performer is still in the same room , so how come their voice doesn ’ t sound like it ? When the voice goes from saturated reverb to fully dry , the effect becomes apparent and subsequently distracting . A little judicious reverb ( obviously way less than that used in the song !) helps preserve the “ space ” that the viewer is seeing . Note the word “ judicious ” here . I ’ m not suggesting that each element swim in manufactured reverberation ; however , it is important that this consideration be given different thought in a broadcast perspective .
40 PROFESSIONAL SOUND