SoundGirls.org: The band is more self-sufficient than the vocals. They’ll do some dynamics on their own, so they can take care of themselves to a point while you’re settling in with the vocals. For the things they don’t do on their own, you’ll tend to notice and take care of them naturally. If the music is too loud and it’s hard to hear what the actors are saying, you pull it back. If we’re heading into a song, bring them back up to support the singing. All of that is a good start, but at this point, those moves are reactive as you notice something and adjust to compensate. Once you can give more attention to what’s really happening in the music, you can anticipate and be proactive.
1 comment:
I love this blog so much, almost everytime there is a article from them on this website I tend to read it. Anyways, this article brings up a really important point when it comes to line-by-line mixing, which is making sure the vocals sound good with the music. Depending on the type of show this can very quite a lot. Take for example, a musical with pre-recorded music. Now while this is very frustrating to work with, some theatre companies and programs, take for example schools, can't afford for live musicians to be there every night, and so they use canned music. One of the problems with canned music is that depending on the vendor, the tracks are either normalized quite well, or they are wildly different in volume and dynamic range. No matter how much you normalize these tracks you will still have to fade in and out the music, even if it's just a little to make the music feel right. Another problem with canned music is having a singer sync up with bumps in the music, to fix this, split the track into multiple cues and have the actor give you a cue when they want to start.
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