environment of most viewers do not have any the other end of the spectrum, large outdoor the broadcast engineer needs to put on both
of those elements. Here are a few tricks I’ve venues frequently run mics wide open and hats at once and be willing to possibly apply a
picked up over the years to help you overcome perhaps even with additional reverb added. more heavy-handed mix approach to translate
these obstacles and create an engaging and The trick here is think about what the live FOH from a huge live space to tiny mobile phone
cohesive mix that works on laptops, iPhones, engineer is doing and mirror their likely mix speakers.
car stereos and consumer home AV systems. approach to get to a sort of broadcast mix
“BIRDS OF A FEATHER FLOCK TOGETHER.”
starting point.
“WAY TO READ THE ROOM…”
For
those
with
mixing One area where a new mix approach is likely to
One of the keys to crafting a successful live backgrounds, there may be a bit of a go-to be required is with acoustic drums. I’ve found
broadcast mix is to carefully analyze—and default per instrument and mix bus, etc. you’ve cymbals to be particularly tricky as they are
utilize—the strengths of the live physical space developed over time since most studios are more likely to exhibit noticeable compression
where your source audio is originating. There within a fairly narrow range acoustically. A very ‘pumping’
will be venues that are so live the ambient ‘live’ studio recording space would still register squashed down too hard and reproduced on
‘room’ sound in the open mics will make a as a ‘dry’ space for most live sound engineers, small speakers or lower bitrate streams. One
muddy mess and necessitate multiple gates though. Mixing for live broadcast requires key successful technique I’ve applied to bring
to clean things up in the broadcast audio. On skills from studio and live sub-disciplines and together a drum kit while avoiding cymbal
November 2019
recording
studio
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or
general
wackiness
when
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