We already know that “Just fix it in the mix” might be the worst phrase ever uttered in a recording studio. It’s crucial to get things right at each stage, rather than passing mistakes along the chain when they’re harder to handle. But even more than that, a great mix can be dictated early in the process of writing and production by arranging songs so that they basically mix themselves.
Dealing with feedback can be extremely frustrating and a never-ending task unless you know a few of the basic principles for live performances. This article will explore two different types of feedback and explore the solutions to help eliminate the problem.
The stereo format is pretty amazing. Because we have two ears and a whole host of processing power in our brains, two simple channels can do a lot to create a sense of immersive space and bring us into the music. In modern mixing, a lot of thought is put into space, including making mixes sound wider and deeper. So, let’s look at a few ways we can do just that.
Compression is one of the most important and misunderstood tools in an audio arsenal. In previous posts, we’ve talked about using compression on stage and compression tips specifically for bassists, but here we’ll introduce a slightly more esoteric tool – multiband compression.
Clarity is job one when mixing, especially in modern recording. Even when your goal is a wall of sound, you still need a certain clarity, or you can easily find yourself in a muddy mess. So, we thought we’d talk about some slightly more advanced EQ and compression techniques for that purpose. We chose to put these two together because the combination of EQ and compression is a huge part of how modern mixers achieve such pristine clarity.
Check out the Carvin Audio TRC Active Column Array Systems in action. TRC Powered Column Array Systems offer portability with high SPL levels that project up to 400’ with exceptional clarity. Unsurpassed high frequency and deep bass response will place the audience in the center of your performance. TRC Systems are scalable and are available in 2000W, 4000W, and 8000W models.
Possibly the biggest, most annoying challenge of playing live is having to handle your own sound. It can split your focus, double your workload, and compromise both sound quality and your performance. Nevertheless, it’s a necessity in many cases, and despite the challenge, it is doable. So, we’ll talk here about a few techniques for making it easier.
Compression is one of the most important tools in any producer or audio engineer’s playbook, but it’s often misunderstood. It’s often thought of as mysterious and hard to get, but in truth, it’s not that complicated. Here, we’ll start you off with a basic overview – compression 101, if you will. If you’re brand new, this should help you lay a solid foundation, and if you’re a salty old veteran, this review may clear a few things up or just remind you of the basics.
There’s nothing more important than groove in a solid tune, and groove is job number one for bassists – even when they’re going wild with virtuosic amazingness. That’s why the combo of bassist and drummer is called the rhythm section.
Live music performance has come a long way in the past thousand years, and modern performance has come even further in the past couple of decades. Amazing, innovative use of tech has let performers pull off fantastic feats – from aural experiences that just don’t exist in nature to epic, multi-part works presented by just one or two people.
Eons ago now, recording wasn’t done in homes or inexpensive offices. Especially mixing and mastering were left to finely tuned rooms with the highest quality acoustic treatment. But with the advent of digital recording technology, that started to change and now some of the best records are made in bedrooms.
Mixing in a live setting is a whole different animal than mixing in the studio. You’re dealing with crazy venue acoustics, random occurrences like drunken patrons or late band members, unpredictable power sources, time crunches, and usually – building your whole rig from scratch.
