Mixing Techniques
- The first thing you need to do is turn down all AUXILIARY levels and the FADER then determine what kind of input signal it is. (LINE or MIC) and what channel it is pluged into
- After that you need to adjust the gain so it doesn’t clip the input. To do this look at the indicator lights for that channel and see if you are overloading it (the red light or LED as it is called) should only flicker occasionally at the highest level. If it is on solid turn down the GAIN. The opposite is true if you can’t see or have a very low level. On a Digital console The level should be much lower than clipping and normally should be set to run in the low yellow or about halfway up. Clipping a digital signal makes it unusable.
- Then you need bring up the FADER slowly up to around 0dB Remember to have the MONO or STEREO masters up to there normal levels and have the signal selected on the SUB MASTER assigns to send to mono or stereo. The channel faders should be up ¾ of the way and use the mono master to control the volume. (START LOW)
- Listen to what you hear as this is where you need to use your ear and adjust the EQUALIZER so as to make it sound as natural as possible (this can take a while) do not adjust the EQ so it looks pretty use your ears not your eyes.
- Once that has been completed send the desired level to the monitors by first determining what monitor channel is used for that part of the stage than bringing it up using the AUX sends for that monitor. Always use caution when doing this as this is where feed back can develop this is where you use the pre/post buttons located just below the Aux sends with the exception of wireless mics these should be on the pre setting, again listen to the mix. The monitor mix should NEVER be louder than the mains. (at least 5% under)
- At this point you are done using this channel for now go on to the next signal and do the same until you are done.
- Now you need to decide if you want to use your SUB MASTER assigns or just continue sending it straight to the master.
Mixing is a lot like driving a car
Keep your head up watch the performers not the knobs and meters
Hands should be on the mixer not the coffee mug!
Pay attention don’t be talking to your girlfriend / boyfriend
A map is a good thing to have when driving so is a service outline or program when doing sound Know what is coming up and be prepaired.
Structure of a mix (a 3 layer cake)
Lead vocalists are the icing or top layer of the cake and should be slightly louder then instruments and other sounds.
The instruments that provide support to the vocals i.e. piano or keyboard and Acoustic Guitars need to be the next layer, background vocals can be placed here also.
The bottom layer consists of the drums, Bass and percussion.
Marbled throughout the cake are the sweeteners that add to the mood and make music interesting i.e. woodwinds, strings second keyboards and guitars.
(Remember we may be mixing for a Church service or other worship event not a rock concert) even though even a rock concert needs to be layered
Selective listening
Once you have mixed it all together it may sound muddy or not clear i.e. the vocals don’t seem to be understandable or the piano is not cutting through. Than you need to EQ them so they have more edge adding some high mid frequencies (4-8KHz) will help this even though by them selves they seem too shrill. You also may need to cut back on some low mids (200-600Hz) on things like Bass and Keys.
Stage setup / Sound check
A sound check is essential; an event should never take place unless one has been done.
A good rule of thumb is a sound check should last 1hr. 15min. And you should be done ½ hr. before the event starts or doors open giving you time to do system checks.
It is NOT a practice for the musicians it’s for the sound technicians.
Should be of a verity of fast and slow songs (no need to do complete song)
Specials should be done as well so as not to have surprises
If need be go through each instrument and vocal one at a time to adjust EQ and other settings.
As sound systems very from church to church and venue to venu and acoustics play a large role in how sound is heard. An empty building will usually sound completely different than a full one. Do not assume that once you have a good mix that your job is done a sound technician must be ready for the unexpected to happen i.e. a wireless mic picking up interference or a bad cord that worked during sound check. Also depending on if the soundboard is used for Sunday services or for other functions will be a factor on how much you will need to do for each setup.
Final Sound Adjustments
When you finally have a good mix of sound that you are happy with the next thing you need to do is establish an overall volume level for Sunday services or concert. Again acoustics play a large role in how you assess the situation but a good rule of thumb is look at the seniors in the congregation and see if they are holding there hands over there ears…ok just kidding. First, you need to get your hands on a sound level meter this is not an expensive device that reads sound volume in Decibels or dB as seen on most meters. Once you have one of these you want to have it where you can see it and adjust the house sound to around 90dB with peaks never above 100dB (for a concert most people expect it to be a bit louder in the 90-110db range) remember that each dB is 10x louder than the last. Next walk around the room with the meter and check that you don’t have spots that are louder than 100dB reflection off of walls and ceilings can also affect this. Remember that once the room fills up this reading will change.
Microphone Types
- Unidirectional come in various pattern sizes designed to pick up sound only from the front and slightly on the side called Cardioids, Hypercardioids are a little more sensitive and Shotguns that only pick up what’s in front of it.
- Omnidirectional pick up sound from all around even behind
- Dynamic mics have a good overall frequency response are used for vocals are rugged and do not need a power source (Phantom Power)
- Condenser mics have a much higher frequency response and are very sensitive, great for choir or group pickup as well as cymbals and percussive sounds they are not good for holding as they tend to transmit the handling sound into the mic. These mics need Phantom Power to operate and feed back very easy (using around monitors or speakers is not recommended).
Microphone Technique
Hold the mic as close to the mouth as possible on the chin is best (Its an ice cream cone if you can’t touch it with your tongue than its to far away)
DO NOT EVER blow into mic or stand close to a speaker or monitor and cause feedback* deliberately.
Pull the mic away from your mouth if you are going to get loud or yell.
*Feedback is caused by a microphone or other pickup device hearing its self. Pointing it at or by just having it too loud in the speakers or monitors. To fix this you can do three things:
1)Turn down the volume of the device feeding back**.
2)Move the speaker or monitor away from the device feeding back or vice versa.
3)Use your EQ on the soundboard to get rid of the frequency that is feeding back.
**Always do this first as feed back will cause serious damage to speakers if left to get out of hand not to mention it’s hard on the ears.
Connecting Instruments to Soundboard
1)Using a Direct Box (DI) this box converts a line or guitar High Z signal (Unbalanced) to a Low Z mic signal (Balanced) so it can travel farther distances over 20 ft. (you may create noise in the system if you don’t)
2)Using mics designed for instruments i.e. SM57 made by Sure (using vocal mics can damage them as they have a much larger pickup aria and can easily be overloaded)