issues is to keep them out of the usual type
between drums and cymbals. the congregation.
studio mix. “LET’S GET A ROUND OF APPLAUSE!” One trick I tend to use frequently is to ride the
I tend to treat the drums in the drum kit as one As mentioned before, it is important to establish into a drier and more present lead vocal or
group (kick, snare, toms) and treat the hi-hats a broadcast mix ‘ground zero’ based on pastor speaking in-between songs. Live sound
and ride and crash as a cymbal group. This the general characteristics of the live space. engineers often have a dedicated soft key or
configuration makes it easy to compress kick Assuming your live room isn’t a gymnasium or fader to be able to pull the reverb back out of
and snare and toms to make them pop, while a baroque cathedral, one obvious way to bring a vocal mic when the vocalist speaks on their
the low end is rolled off and reverb is added to a bit of audio glue to mix is to add in room and/ own without the full band. Live engineers have
the cymbal group to bring them together as a or audience mics. I tend to treat these two a bit of natural room reverb to help ease that
unit. This felt a bit counterintuitive at first since inputs differently — a room mic functioning sonic transition in most cases. In the broadcast
most studio or live mixes usually strive to make much like an added open drum mic in a studio mix, quick transitions in reverb are easier to
the entire kit feel like a unit, but I find it really recording, while an audience mic is focused on pick out and sound very unnatural. Bringing up
helps in live broadcast to split the kit in two capturing applause and hoots and hollers from the audience mic as the vocal reverb comes
of drum group I’d create if I was doing a live or
audience mic to blend and mask the transition
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November 2019
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