FRONT OF HOUSE
HARSH : THE WORD OF THE WEEK | Kent Morris
Sound is unique to each individual . While we can all generally agree on what sounds " excellent " and what sounds " poor " the variance between these two poles is tremendous . Part of the issue is individual physical differences of the human ear , but a significant portion comes down to taste . It is one thing to create a mix we enjoy ourselves , but an entirely different matter to build a mix a plurality of listeners will approve . Here are some thoughts on how to achieve this seemingly impossible task .
Audio engineers would do well to apply the Hippocratic oath to our job : first , do no harm . The essential element here is to mix with an ear toward balance and continuity . An audience is more forgiving of a bland mix than a jarring mix . This method is used in broadcast where the idea is to deliver a consistent McDonald ' s meal in place of a local dish that may be great or terrible . Some engineers take offense at this advice , but the mix is for the audience , not the person behind the console . In church environments , the challenge is even greater since the attendees range from young to old and from highly attuned to the music to completely disinterested . At a concert , everyone present is drawn to the event by common interest , but at church , interest ranges from great to nil . By dialing in a middle-of-the-road mix , we can reach the majority present while not offending those who are there primarily for the sermon .
The word harsh , when applied to live sound , generally refers to a mix that is heavy in the upper midrange , roughly in the 1KHz to 4KHz region , with 3.15KHz a key point . Many larger format sound systems produce a natural peak in the octave between1.6KHz and 3.15KHz , making judicious control of this range critical to avoiding harshness . However , clarity of voice resides here as well , so , if a multi-band compressor is available , it can be put to good use on the main output . Setting the compressor to dip the 1.6KHz to 3.15KHz octave by 4dB when the threshold is crossed with a quick attack and slow release envelope will improve the mix significantly .
Next , consider the issue of mix creep . Often , the opening song of a set allows the engineer to bring the console to bear on the situation with several changes made throughout the first verse and chorus . Then , as the songs flow , the mix settles down and fewer changes are needed , but the overall level tends to rise . It is
important to note the tendency for fader creep upward as a natural means of adding energy and power to the mix . One solid method here is to lower all levels after the end of a song and prior to the beginning of the next song . This move allows the energy to dissipate and offers a lower starting point for the next song , even if it is a rocker .
Finally , consider the value of a second opinion . Often , mix engineers get so deep inside their own mix , they can ’ t hear the forest for the trees . An A2 standing alongside can help correct any larger issues as well as serve as an advocate for the audience since they are free to scan the room for reaction and engagement . It is wise to trust others who have your back .
The word of the week is “ harsh ” but it need not remain as such if we are willing to focus on a balanced , even bland mix , apply small amounts of mid-band compression , watch out for fader creep and listen to the person standing at our side throughout the process .
Kent Morris Kent is a 40-year veteran of the AVL arena driven by passion for excellence tempered by the knowledge digital is a temporary state .