How To Mix Live Music
You will learn how to use each feature of these mixing consoles, and how to apply them practically to your regular music mixing jobs. We have lots of tips, tricks, advice and experience to share with you. When you know what you’re doing, mixing live music becomes a whole lot more enjoyable and creative.
In this video, we will talk about how to choose the right mixing console for your work, and what tools and accessories you should always take to work!
In this 3rd part of the training series “How To Mix Live Music”, we are going to get the mixing console connected to all the other sound equipment: microphones, amplifiers and loud speakers. You should aim to do all your connecting before switching on the power!
But before we begin connecting, let’s do some planning!
Before we start using the mixing desk, we are going to talk about microphones: how to choose the most suitable types, and where to put them for the most common types of instrument!
Last time we chose our microphones, and placed them near the instruments on stage. Now we’re going to bring the sounds from the stage into our mixer, and make the optimal settings for each input.
This time we have a very important topic, which I have witnessed even some seasoned professionals get wrong from time to time. It is “Gain Structure”. It is crucial to understand if you want to get a clean and consistent mix every time!
In Chapter 7, we will see how a small button can be a big help: it's the “High Pass Filter”. So our first question: what is a “High Pass Filter”? High Pass Filter is one of the most useful tools on a live mixing console, as it leaves all the high frequencies alone, while filtering out the un-necessary low frequencies.
This video will give you an introduction to the types of EQ available on most popular analog and digital live mixers, and it will help you understand how to operate all the controls safely.
This time we will be EQing our outputs, that is the speakers for the audience and for the performers on stage. If you get this right first, it is going to be easier to EQ all the input channels. Taking time to work on the outputs first will save time when working on the inputs later.
In this chapter, we will focus on drums as in kick, snare, hat, toms and overheads, probably the loudest instruments in the band, and the ones with the most focused range of frequencies. Each mic used will require different treatments.
We've already got the drums sounding good, now we are going to move on to the electric bass, guitars and keyboards, the key instruments for most rock and pop bands.
Now we are going to start applying EQ to acoustic instruments such as guitar, violin and brass. Some of these instruments are quite sensitive and care needs to be taken to avoid feedback. Even electro acoustic guitars that is hollow-bodied guitars with built-in electronics to capture the sound. They can feed back if placed close to a stage monitor speaker.
Chapter 13 - EQ for Vocal Mics
Chapter 14 - Pan
Chapter 15 - Faders & Groups
Chapter 16 - Auxes
Chapter 17 - Sub, Mono & Matrix Outputs
Chapter 18 - Compressors
Chapter 19 - Noise Gates
Chapter 20 - Output Compression
Chapter 21 - Reverb
Chapter 22 - Delay
Chapter 23 - Soundcheck
Chapter 24 - Recording