AUDIO
CRITICAL LISTENING FOR LIVE WORSHIP MIXERS, PART I | Kent Margraves
This multi-part series discusses critical listening processing knobs to reach for (equalization, another engineer, and I don’t mind asking them
skills and ear training for FOH mixers in worship compression, etc.) or maybe discern that a visit how they’ve achieved a certain sound.” We
environments. We’ll discuss the need (why) and to the source is first necessary, to optimize mic should never stop learning!
some developmental techniques (how). placement. Or, sometimes our ears indicate
that the instrument itself needs addressing, Ear training: We are, in a sense, translators.
A non-audio person attending a live worship such as drum tuning. In that case, it’s time We must translate artistic ideas into technical
experience will often have a general impression to turn off the mic and go listen to the drum solutions. What if our music director says, “I
about the loudness if asked, or whether it acoustically and work with the drummer to need that synth pad to be warm and lush in
simply sounds good or not to them. But as get it right before amplifying it. But what is the mix.” Well, there’s no “lush” knob on our
mixers we must be able to hear in detail and “right”? This is our Why. “Right” means getting consoles.
be able to imagine what’s going on with the the drum sounding appropriate for the genre complexities of the console, the P.A., the and the venue, which may be different in each Or, what if we find an electric guitar is very
room, and the musical performance. This application. But the only way we can move piercing in our mix? What does that mean?
should become automatic. What if it doesn’t toward that goal, or know when we’ve reached Assuming we’re past soundcheck and can’t
sound great and you’re suddenly put on the it, is to have a clear target. This comes from adjust the source (the mic or instrument) that
console mid performance? Would you know mixing experience, extensive music listening, means equalization. How do we know whether
where to start? An experienced mixer’s ears and ear training. Think of all the variables in to cut some 2 – 4kHz or 4 - 8kHz range, or
will guide them in where to begin improving the just the snare drum example: 1) drum tuning, something else? Ear training. We have to know
mix immediately. 2) playing technique, 3) microphone selection, what those frequency ranges sound like. Ear
4) microphone placement, 5) gain structure, 6) training exercises and lots of practice address
THE WHY: processing (equalization, dynamics, etc.), 7) this. And making that guitar sound good by
Live mixing is a delicate blend of art and balance (blending), and 8) any artificial effects. itself is one thing. Making it sound right in
science. possess While we have some technical tools available context of a full band performance is different
exceptional listening skills. We have to work
We’re
expected
to
(like metering for gain structure) our ears are, (and clearly more important). Critical listening
within the science, but always listen to the again, our most important asset in all of these skill and ear training matter much more than
art (from the worshipers’ perspective). It’s factors. what model console or PA we are operating.
we must foundationally master the science and THE HOW: In the next installments, we’ll discuss some
technology. But here we’re focusing on the art: Frequent listening to the music we plan to mix nuts and bolts of listening critically to well mixed
the (sometimes) intangible bits that make for is essential. It’s also important to listen to other music and techniques for deconstructing it in
fantastic live mixes. When I mix out of town, I artists and different genres to broaden the aural our mind’s ear to learn to hear various mixing
pack a sound measurement computer, certain palette. We each must develop our own mental and processing techniques, some ear training
microphones, and a few tools. But the most “library” of sounds, which eventually becomes practice, and some discussion on taking care
important tools I carry are definitely my ears. I automatic. of our ears.
necessary to become solid technicians first –
can still mix if my Pelican case gets lost.
Listening to other seasoned mixers is also
Example: You push up a snare drum for sound useful. Observe other mixers doing their craft
check. How does it sound? You’ll immediately and pick up new techniques. As Armando
have an opinion of the snare sound, consciously Fullwood (accomplished worship mixer) says,
or “I’m a fan of mixers. There’s no shame in my
subconsciously.
hopefully
178
guides
And
you
in
that
impression
knowing
what
game. I’ll borrow a mixing technique from
August 2019
Kent Margraves
28-year industry veteran FOH mixer and educator.
10 years FOH mixer at Elevation Church. Lives in
Indian Trail, NC with his wife and twin daughters.
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