F.O.H. Mixing.
- Thread starter TheBlackSheep
- Start date
Jarkko Mattheiszen
The FU guy.
That's a pretty fucking broad question! 
Could you be a bit more specific?
But to cover the fundamentals, you need to be familiar with the basics of audio physics, acoustics and audio & PA technology (you gotta know how to connect two pieces of equipment together so it doesn't result in a fire, understand basic mixing and the tools involved etc.), have a good pair of ears and be ready to work long hours only to get insulted by cocky musicians, who are ABSOLUTELY SURE your Lexicon has a preset called "Elvis delay", tell you their band consists of a couple of musicians when in fact it's 24-piece big band and in the end try and refuse paying you.
Could you be a bit more specific?But to cover the fundamentals, you need to be familiar with the basics of audio physics, acoustics and audio & PA technology (you gotta know how to connect two pieces of equipment together so it doesn't result in a fire, understand basic mixing and the tools involved etc.), have a good pair of ears and be ready to work long hours only to get insulted by cocky musicians, who are ABSOLUTELY SURE your Lexicon has a preset called "Elvis delay", tell you their band consists of a couple of musicians when in fact it's 24-piece big band and in the end try and refuse paying you.
YoRich
Member
In short..
Guitarists hate being told to turn down.
cupping the mic is gay
Red lights are bad
If your touring, try not to treat in house guys like a retard, sometimes they can be helpful.
Otherwise trust your ears and your knowledge (you'll probably pick up other stuff along the way), push the faders up and keep your fingers crossed.
Guitarists hate being told to turn down.
cupping the mic is gay
Red lights are bad
If your touring, try not to treat in house guys like a retard, sometimes they can be helpful.
Otherwise trust your ears and your knowledge (you'll probably pick up other stuff along the way), push the faders up and keep your fingers crossed.
Trevoire520
Member
This is a pretty broad topic, I had wrote a few pointers but my Mac spazzed out, went to another page and deleted all my shit, so here's the short version:
Avoid Feedback
Watch the low end doesn't get our of control
Spend a minute trying to sort out the bands sound on stage to make life easier later (more mids, less gain etc)
Dont clip the speakers
Pick up Paul Whites book Basic Live Sound(http://www.studiospares.com/Books/Basic-Live-Sound/invt/130340) this should be a good starting point, though mastering live sound takes years!
Avoid Feedback
Watch the low end doesn't get our of control
Spend a minute trying to sort out the bands sound on stage to make life easier later (more mids, less gain etc)
Dont clip the speakers
Pick up Paul Whites book Basic Live Sound(http://www.studiospares.com/Books/Basic-Live-Sound/invt/130340) this should be a good starting point, though mastering live sound takes years!
Thanks guys.
I've been recording/mixing bands in a studio since 2004, but I never did anything live. So, I want to know the diference between mixing in a studio and mixing live.
I've been recording/mixing bands in a studio since 2004, but I never did anything live. So, I want to know the diference between mixing in a studio and mixing live.
Jarkko Mattheiszen
The FU guy.
To me the biggest difference is the pace of things. When mixing live, you don't have the familiar, treated control room helping you to analyze the sound, and you can't just say "Oh sorry, this tone isn't working/I fucked up, let's take another one" over the talkback. Being on the top of things in a live situation is often very hectic, and you got to be completely alert every second, or you might miss the keyboard player taking over lead vocals, forget a channel that wasn't used two seconds ago on mute when it's needed etc. This is especially true when mixing bands you don't know.
I haven't done too many FOH gigs, just barely enough to build up some confidence. The first couple of shows were almost non-stop panic to me. I wasn't used to how you got to live with the situation all the time, and how when one thing isn't working the way it should, the distraction cascades into losing control of the show. It takes practice, and some healthy attitude so you won't take it personally in the first shows when someone yells at you for fucking up
Line666
Fendurr
- Sep 2, 2006
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And don't get distracted by the sound you're hearing and remember to keep an eye on the monitor mixes if you're doing those as well.
Other than that, theres making sure your plugging up shit all right, with poweramps, speakers, monitors, ins and outs, mics, desks and effects units it can get pretty confusing with all the cables, be prepared to do a lot of fault checking then find out its something completely obvious like someones switched a pad on a condenser or one of the many xlrs is broken.
Erik Monsonis
Member
Keep headroom when possible.
When I'm mixing ITB I don't care about levels, but in a live situation, you don't have Waves L2 or Rcomp to smash the life out of the vocals without feedback... It's all based on headroom control.
I learned it the hard way
When I'm mixing ITB I don't care about levels, but in a live situation, you don't have Waves L2 or Rcomp to smash the life out of the vocals without feedback... It's all based on headroom control.
I learned it the hard way
egan.
daylightdies.com
DanLights
Santa Hat Forever
sgt.pepper
Member
- Jan 28, 2009
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Jarkko Mattheiszen
The FU guy.
make sure you walk the room at different times. especially if the mix position is bad. the room will change through out the night.
Line666
Fendurr
- Sep 2, 2006
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? Does the room need to get warmed up too?
Actually the room sound changes depending on the amount of punters, often referred to as "acoustic absorbers", are in the room, so what he's saying makes sense
By "punters", do you mean people, perchance? Yeah, that does make sense as they come and go throughout the night; I figured he meant something like that, I was just joshing at the wording
Yeah, that does make sense as they come and go throughout the night; I figured he meant something like that, I was just joshing at the wording
Line666
Fendurr
- Sep 2, 2006
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By "punters", do you mean people, perchance?
Ah, yes, its uk (my bad forgot about that) slang for a customer basically.
-Noodles-
3 Initals Mixer
- Dec 20, 2007
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It changes from every venue, to every band, to every PA system.
In my opinion small venues having an engineer is to make the vocals audible and act as damage control (or reduce problems on stage).
In mid sized venues, you can have a little play about with how things sound but probably the noise from the stage will hinder any major improvements.
In large venues is where the fun is at - but again, stage volume and room size are a whole new problem.
Extra point;
As for the people who mentioned monitors, your points are major +1s, but he asked about FOH.
Monitor engineering is a whole other art in itself, and to ring out wedges properly and quickly - and then internally mix the bands wedges properly is a massive and long earned skill.
FOH can be done by pretty much anyone (if the venue guys set up and you "White glove" it).. but I seriously doubt anyone could walk up to monitor desk and do the job.
In my opinion small venues having an engineer is to make the vocals audible and act as damage control (or reduce problems on stage).
In mid sized venues, you can have a little play about with how things sound but probably the noise from the stage will hinder any major improvements.
In large venues is where the fun is at - but again, stage volume and room size are a whole new problem.
Extra point;
As for the people who mentioned monitors, your points are major +1s, but he asked about FOH.
Monitor engineering is a whole other art in itself, and to ring out wedges properly and quickly - and then internally mix the bands wedges properly is a massive and long earned skill.
FOH can be done by pretty much anyone (if the venue guys set up and you "White glove" it).. but I seriously doubt anyone could walk up to monitor desk and do the job.
LeSedna
Mat or Mateo
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