FRONTOFHOUSE
FIVE TIPS TO A BETTER MIX
The Pocket, the Groove, and the Zone
are all terms used to describe what
happens when a mix engineer gets it
right. Each of the musical elements
is in balance with the others, and the
triad of rhythm, melody, and harmony
has formed the perfect relationship. All
is right with the world. Whether from
force of persona or sheer luck, the
Zone occasionally smiles on us, albeit
not often enough. But, is there a way to
analyze and then codify these elements
into a repeatable process? In other
words, is there a way to make the art
more of a science? Maybe.
The first step toward a better mix is to
confirm the stage inputs are optimized.
Is the guitar amp mic just off the grille
pointed upward at a forty-five degree “gaggle” of vocalists presents a wall of sound, don’t turn up the keys, turn something else
angle to capture good guitar tone while rejecting break it up by limiting the range each section down that is in the way of the keys being heard.
floor bounce from nearby instruments? Are occupies. For instance, sopranos have their Let the hi-hat reside in a narrow band above the
the null points on the vocal mics pointed at lowest note at A220, so get rid of everything acoustic guitar, not in the same region where
the horns on the floor monitors to maximize below 220Hz in their channels. Use a judicious there will be conflict. Scoop out a place for the
gain-before-feedback? Are the drum mics cut around 400Hz for male vocals and about bass guitar to shine between the thud (65Hz)
positioned to minimize interference with each 530Hz for females to clear up the “muddiness” and snap (3KHz) of the kick drum by reducing
other? Is the direct box on the keys capable of that occurs when multiple voices sing together. the response of channel one from 125Hz
handling the saturated pad signals generated?
to 1KHz, reserving that area for bass guitar.
The best mixes always start at the front of the Next, look to dynamics control to serve as Naturally, the bass will extend below and above
audio chain. a third hand. Since digital consoles have that range, but it is highlighted there.
compression, limiting, and gating on every
Second, check the gain staging for each input. channel, it is tempting to “lock down” the mix The perfect mix will always be beyond us; but
Gain is not volume; it is more akin to leveling across the board; unfortunately, this action like light-speed, we can get very close.
the signals for the console. Just as a jet-way in takes all the energy out of the mix. A better an airport terminal raises and lowers to match approach is to use as little compression as different aircraft to the terminal floor height, so possible and only touch the signals that are out the gain control matches every input to the of bounds when they do go astray. For vocals level the console wants to see. Gain should or lead guitar, set the threshold high enough so be set so that maximum input extends to just only peaks are affected and set attack at 25ms below the clipping point. Typical levels will then and release around half a second with a ratio of reside around the zero mark on the meter with 4:1. Avoid gates for any signals other than toms the fader set to zero. This method allows the and noisy instrument amps.
console the greatest range of usable signal
above the noise floor and below clipping.
Finally, mentally walk through the mix, listening
for each component seen on stage translating
Third, use board EQ for tonal shaping and to fit to a demonstrable part of the mix. If the keys
the pieces of the mix puzzle together. When a can be seen playing, but not heard doing so,
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May Jun 2017
WorshipMusician.com
KENT MORRIS
35 year veteran of the
worship technology arena
with a passion for excellence
balanced by the knowledge
digital is a temporary state.