I always keep a Feedback Buster - a specially-designed round disk of rubber sold in most music stores - to lend to guitarists who don't have one. Putting a DI box out for the acoustic is the best way to get the best sound you'll need to carefully EQ it to avoid feedback. Sometimes, you'll find players with an acoustic amp, but those generally don't cut through the mix well. That way, you're in total control of the tone, and the amplifier on stage can still do its job as the player wishes.Īcoustic guitars are a different matter. In this case, I'll put a DI box between the guitar itself and the amplifier.
Sometimes you'll find you need more definition in the bass guitar, or your drummer will want more in their monitors. In fact, I'm almost always finding myself having to ask the players to turn them down because they're too loud in the house. Quite simply, in most small rooms, you won't need to mics the guitar amps and bass cabinets.
That way you can still send the snare signal to the reverb unit while not actually putting any in the house! Here's another tip: if you've got a loud snare, but still want to add reverb to it, you can switch the reverb send on that channel to pre-fader instead of post-fader. I also, as usual with most channels, cut out everything below 80Hz. I prefer to compress the kick drum separately, and EQ with a boost in the mid frequencies. Even though the channel strip of a recording console has many similar features to a live mixer, we typically recommend mixing a live gig predominantly in mono. Sometimes, I'll mic the high-hat in a small room if the drummer plays it softly, but generally, it's not necessary. Mixing a live show is a different beast than making an album in a studio. Even some small clubs that hold less than 1,000 people may not need amplification on the overheads. Overheads and cymbal microphones are of low priority. Depending on the quality of the kit, you'll need to compress. If you're low on microphones, you can put one microphone for every two toms, placing them in between. If you're in a club that holds, say, between 250 and 500 people, you may need to mic them. Toms generally don't need any amplification, as they're generally not played enough to warrant dedicated channels. Most drum kits, in a small room, won't need any amplification past the kick drum.įor a good small room, I prefer to mic the kick drum, as well as the snare. Every desk is different, but this is usually where the signal turns from green to yellow or orange. The goal of mixing is to bring out the best in your multi-track recording by adjusting levels, panning, and time-based audio effects (chorus, reverb, delay). Tracks are blended using various processes such as EQ, Compression and Reverb. In order to deliver the best-sounding mix, you need to take stock of what you can hear in the room naturally, without amplification. To set the gain for a channel, have the musician start playing their instrument, and with the channel fader down, slowly turn up the gain knob until you hit the console’s sweet spot. What is audio mixing Audio mixing is the process of taking recorded tracks and blending them together.
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