with customizable repeat patterns and musical filtering. Think of it like next-level tap tempo: each tap can have its own amplitude and doesn’ t have to follow a steady pulse. Tap in the rhythm of“ shave and a haircut,” and the delay will echo back that exact pattern. You could even program it to build gradually or delay its presence until a few repeats in. While it shines on percussive sources like snare, it can also add depth and intrigue to something like an arpeggiated guitar riff during a breakdown. The point is the same as in my original“ Mixing Musically” article: be a musical collaborator. Don’ t just replicate what’ s coming from the stage— enhance it, complement it, and make the overall experience more engaging.
DISTORTING THE TRUTH If you’ re familiar with home theater play back technology, you know the goal is maximum accuracy and minimal distortion. But in music creation,“ distortion” doesn’ t always mean“ wrong.” In fact, we often seek certain types of harmonic distortion— think tube mic preamps or tube emulators— for their warmth and character.
Why not push this idea further in a live mix? Try sending an effects return through a guitar amp simulator or cabinet emulator and blending it into a drum mix or even a vocal. It reminds me of the vocals in Creedence Clearwater Revival’ s“ Suzy Q” around 1:45— a lo-fi, telephone tone that could be achieved with an extreme EQ combined with light overdrive.
Another modern tool worth exploring is CompStortion( introduced in the Allen & Heath dLive V2.1 update). With a wide range of attack / release times, distortion modes, and“ Smash” and“ Brit” settings, it’ s great for everything from vocals to drums to mix bus compression. In subtle mode, it’ s like a Klon Centaur or compressor pedal that’ s always on, thickening up toms or bass. But you could also save an extreme“ Smash” setting for a big chorus or bridge when you need that extra punch.
Hopefully these ideas inspire you to put your console’ s often-overlooked effects to more musical use. If the tech team is on the same team as the worship team( A = B), and the worship team is essentially the worship band( B = C), then by the transitive property, the tech team is part of the worship band( A = C).
We have different roles, sure— but the goal is the same: to create a powerful, engaging worship experience. FOH engineers aren’ t just there to make the stage louder. Done well, we can add as much to the moment as any drummer, guitarist, or vocalist.
We’ re all in this together. Happy mixing!
Jeff Hawley Jeff Hawley is the Vice President of Marketing across many US-based divisions of JAM Industries, including top musical instrument and pro audio brands. He is especially interested in all things Allen & Heath and most recently served as the Director of Marketing for Allen & Heath USA. In his‘ spare time’ Jeff is completing a PhD in Philosophy of Sound at York St John University. He also serves as the President of the British Postgraduate Philosophy Association. When he isn’ t writing WM articles or marketing up a storm, he enjoys traveling the world to present at philosophy conferences and listening to old country western songs.
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