[i]In my second week of placement in SARC Audio Team I began mixing sound for the improvisation performance and ensemble performance classes, and it was the first time using SARC’s Studer vista 5 consoles. I started Monday by moving all gear out from the storeroom into the sonic lab. Then began setting up the drums, amplifiers, and keys. Then set up and routed all microphones for vocals, drums, piano, and guitars to desk. The Studer Vista 5 is very different from any analogue and other digital consoles I had used in the past. Those being a Behringer x32, Allen & Heath SQ 6, and various small analogue consoles like the Yamaha MG 12. Therefore, routing the inputs from the stage took some time and I needed help from more senior members of the SARC Tech Team. We needed to use the screen connected to the console and tap on the channels on the desk itself, which opens a window for inputs and outputs. As the sonic lab is a very big room there is hundreds of points of input, so I need to make sure I was choosing “stage box input” where the microphones were coming in from. Once I was shown how to do it however it went very smoothly, and I was able to route and label all the inputs and channels before the class started so we could then sound check.
The first class of the week was the improvisation class, I knew before hand it would be a challenge as it is usually groups of three take the stage and improvise for a few minutes then swap with other students. It was very fast paced, and I needed to be very quick setting up the monitor mixes for each ensemble as every group had a different range of instruments and needs. During this class I also struggled quite a bit with feedback problems with the microphones we had on the grand piano. There was a pair of Neumann KM 184’s on the piano and although they are fantastic microphones, they are also quite sensitive. So, in a setting where the piano is playing with drums and guitar, I would need to turn up the volume; however, this led to feedback from the front of house speakers and in some groups feedback from the on-stage monitors.
The second class I teched that week was the ensemble performance class, which on paper is more straightforward than the improvisation class as the lecturer gave my email to the students so someone from each of the groups could tell me what they required for their performance. But it was also way more involved as they were all full bands with different sounds and monitor requirements. Luckily all the gear on stage was already set up from the day before so all I needed to do when I first came in was set up the desk, lighting console, and give the stage some rearranging so it was more comfortable for the bands. While setting up I wanted to take some time to try fix the feedback problems from the piano, so I began by lowering the lid on it as before it was open fully. Straight away I did notice that there was more clarity, and I was able to push the volume just a bit more when testing it out. Then once the class began, I took 30 minutes per group before they played to do some gain staging, EQ, and monitor mixes so everyone was happy on stage, and I was at a good starting point for the front of house mixing.
For my first week there and first time being left alone to tech the room I know I did very well but there’s definitely much room for improvement in terms of how I set up monitors and got my head around routing the desk and where sound was coming in from on the tracks. I do feel that for a first week I learned many valuable lessons about live sound mixing, from needing to be more efficient with monitor mixes and the importance of a fast and clean set up so the stage is ready for acts to go up and perform without needing to worry about things in the way. I also feel that the feedback problem showed me how to do some problem solving while in that environment too, as being a sound engineer much of the work is just problem solving and fixing things.
Front of house mix in general the classes and I were happy with, as was the lecturers running the classes. However, we did experience a good bit of feedback through some monitors as I kept forgetting to see how much signal I had sent from the piano mics. “In live sound, feedback is the cruel yet honest reminder that every action has a reaction—making it an opportunity to refine your craft.”[ii] I know that as I am still learning this is something to expect, and working in such a complex room has its own challenges. Overall, I am pleased with myself for keeping a level head and just working towards getting a good mix rather than working myself up over some feedback issues. I would also like to work on knowledge of microphones as when I began, I wasn’t fully sure what certain microphones to use in specific instances, however, “It’s worthwhile to seek advice from other experienced engineers – but then filter that advice for my own projects.”[iii] I knew there was nothing wrong asking senior staff members to give me some pointers as everyone in SARC is very helpful and happy to lend a hand if needed.
To solve the feedback problem for example, we had a Piano Left and Piano right; on the desk these were two separate channels, and I would need to hold two buttons to link them together to change the volume of the separate channels the same amount. But sometimes I would forget to link them and just send signal from the right to a stage monitor, then afterwards link them and up the volume of the left which in turn sent way too much of piano right and begun to feedback quite fast. We also realised that the piano being on stage with drums and amplifiers meant the piano itself was resonating with the vibrations, adding to the input volume through the microphones. To try minimising as much outside noise we lowered the top of the piano, so it was just open a crack then had the microphones isolated inside. Which helped a good bit and created more clarity with the piano, as well as helping us get more volume out of it.
So, in my first week, I learned how to set up a stage and room for performances as well as getting valuable experience mixing in a very different environment from a normal concert. I think the improvisation class is great for developing skills in monitor mixing and front of house mixing very quickly and with instrumentation that is out of the ordinary. Then the ensemble performance class is great for learning how to work with groups to achieve their goal for how they want to sound. Receiving spec sheets of what they require and being able to deliver what they expect from a sound engineer. I also learned how to deal with the unsavoury problems that come with live sound such as feedback, short set up times and even learned how to set up a drum kit.
In future I now know that I need to keep a level head and not allow myself to get too stressed out and panic if things go wrong as if I can keep calm and just focus on fixing the problem then I can learn from that. It also looks more professional if I’m not scrambling over the desk to see what’s going wrong but just take a step back and troubleshoot one thing at a time.
I also think in future I want to take more time with gain staging, and learning how bands work together so I can deliver them a better and more professional sound mix, as “the ability to understand what the artist wants and then the ability to translate that into audio is important.”[iv] Therefore, I would like to get more experience working with a broad range of artists. As some drummers are very heavy hitters and overpower other instruments even if I’m trying to push them louder. Perhaps while in sound check I can communicate better with the performers, asking the drummer to be a bit softer and maybe getting other performers to turn up their stage volume.
[i] Gibbs, G., 1988. Learning By Doing: A Guide To A Teaching And Learning Methods. Oxford, Polytechnic: Further Educational Unit.
[ii] Gearspace.com (no date) Gearspacecom RSS. Available at: https://cdn.gearslutz.com/ (Accessed: 09 November 2023).
[iii] Miller, M. (2016) Mixing music. DK Publishing.
[iv] Swallow, D. (2011) Live audio: The art of mixing a show. Burlington, MA: Focal Press.
References:
- Gibbs, G., 1988. Learning By Doing: A Guide To A Teaching And Learning Methods. Oxford, Polytechnic: Further Educational Unit.
- Gearspace.com (no date) Gearspacecom RSS. Available at: https://cdn.gearslutz.com/ (Accessed: 03 November 2023).
- Miller, M. (2016) Mixing music. DK Publishing.
- Swallow, D. (2011) Live audio: The art of mixing a show. Burlington, MA: Focal Press.