SoundGirls.org: Mixing at FOH is a subjective position. There are general expectations when it comes to mixing, such as creating a balanced mix, ensuring the audience is not uncomfortable, and making sure the vocals are intelligible. Different genres may have different expectations – for example, do you need a flatter target curve or more tilted curves with varying sub haystacks.
3 comments:
I really liked this article, not only because of my interest in sound but the point that it made regarding acoustic measurements and filtering of frequencies that most people would not notice. To the first point, I really do believe that at the end of the day, what your screen is showing you, whether it is from an acoustic measurement or an eq curve should not be the final verdict on if somthing sounds good. This was clearly stated in this article. The author spoke on how they could use some of the aspects of their autism as a tool to focus in on how things are really sounding and not having to rely on the DAW. I truly belive that this at the end of the day is what separates goo from great sound desiegners. Being able to know what sounds good and bad no matter what a screen is telling you. The next point I really liked was how the author spoke on filtering out frequencies that are unwanted. Most people tend to be very sensitive in the 2-3.5khz range. This is because in nature this frequency is similar to a babies cry. This automatically alerts us that something is wrong giving an unpleasant feeling and or irritating. I really like that filteting out unwanted frequencies was pointed out because the worst thing that would happen when you are at a show is when somthing is just so blaringly bright. I rreally liked this read!
*WRONG POST HERE IS MY CORRECT COMMENT *
I would storngly belive that this has to be some of the most important stuff to know as a sound designer. Being able to have a reference when touring must be so crucial. I really wonder how it would be to go from place to place and try to achive the same sound. I have a simmilar expereice when I go to setup for audio shows. Typically they are in hotel rooms which tend to be the worst acoutical rooms you could possibly find. Somehow someone thought it would be a good place to do audio demos in! However the biggest challenge I face when going from show to show is making sure that everything sounds how it should for that speaker. You can change this by altering the firing positioning to adding acoutic treatment. I could only imagine how wild it must be to do this on a theatrical level. You do however have the advantage of EQ. With most modern DSP's and EQ curves ftom the consol you can achive a pretty accurate sound. I am sure with some great skill one can perfectly replicate the original space where that song was intended to be heard no matter the venu!
This is very interesting to read. It summarizes the A1 position pretty well, and I do like the questions it asks. I believe the A1 role is one of the hardest roles in the theatre. Its very interesting what they do and how they do it, and I believe this article summarizes the points quite well. No system will just adjust it, nor would an EQ fix a loud actor, instead A1s have to use their own ears to fix the issues, and listening closely is very important to this. I’ve mixed things in the past, and it is a challenge at first as you are learning the show, but then after you know the show, it gets easier. It’s a very interesting approach to balance the show by walking around the house, as this article points out. While this requires a second person, it 100% would mix a show better, as you consider all points rather then just where the board is located. This article gives some really nice tips for the future!
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