The answer here is to carve out some ‘sonic space’ for each part. Certainly, you could just abandon one of them, but it’s your job to make it work.
#Mixing live sound for looping how to
If you don’t already know these, print out the chart and tape it to your audio console! So, the question then becomes how to deal with these competing sources effectively. I’ve attached a helpful chart to this post that includes the typical frequency ranges for many common instruments. This is actually pretty common problem for violins and voices, sampled and live.
A violin (or other string) part on a loop sounds beautiful by itself but when played with a tenor voice, the voice loses clarity and the violin becomes difficult to hear. Sometimes it may work okay, most of the time both will turn to mush. Both sounds are in roughly the same frequency space and will likely blend together. A loop has a kick drum sample that hits at the same time as your drummer stomps on the live kick drum. This is the result of two audio sources trying to exist in the same frequency space and as a result, the output can get mushy and lose clarity. If you’ve already got an amazing team of volunteers on stage and are adding loops, simply squishing them on top of everything else will likely result in two things: 1) you won’t be able to hear a lot of the detail from the loop and 2) all the live instrumentation and vocals will be more difficult to hear and understand. A better understanding of the types of decisions your sound engineer must make when mixing your loops will help you make better tracks and design better parts for your band to play along with them. This discussion is really aimed at the guy standing behind the sound console but the information is great for loop creators and users too. In this post, we’re going to take a look at mixing loops in your worship service. Now that you’ve got some mixing tips under your belt, it’s time to read the Ultimate Survival Guide to Live Sound and level up your live sound knowledge.Published by Loop Community on JJuly 11, 2011 Just keep these things in mind and things will most definitely go more smoothly. It’s obvious there’s a lot to think about when you are doing a live concert, whatever the size of it. And that’s great, because that makes you look good as well. Once you have the sound up and running, some bands are just so good and tight live that you don’t have to worry about them. Some Bands Mix Themselvesįollwing up on the last statement, some band just mix themselves. Especially if you know the band and their material, you can be a major influence in how they sound live. If you had a great sound-check and everything sounds good together, don’t think that you should be moving faders and changing be on the lookout for odd things that need fixing here and there during the songs.Īlso, when you have a band sounding good you can focus on the creative part of the show, using effects, reverbs and delays. That way they don’t bleed as much into the P.A. But if a guitarist insists on cranking his amplifier up to eleven just because it only sounds good that way, try turning them away from the audience. Good monitor positioning and semi-quiet amplifiers will help fix any problems artist have with their stage sound. In a small to medium concert venue, having the guitarists turn their amplifiers up too loud will compromise an otherwise great live sound. And if they are too far away, the sound of the monitors will get buried and masked by the stage sound. If they are too close to the artist the sound waves just travel around their feet, never reaching their ears. Good monitor positioning is critical to avoid feedback and making sure the band can hear themselves. It all depends on the genre, so decide on this one yourselves. However, it can de-emphasize the feel and natural quality of the vocal. They make sure the singer can be heard at all times and in itself is a valid technique. 
Some like to over-compress vocals in a live setting. Make sure they are tight and punchy and you’ll win the crowd and artists over. Getting the drum sound right can often determine the quality of the rest of the show.
In my opinion it is one of the most important elements of sound. It will leave no headroom if you need to turn things up later. Be sure your system and microphones can handle the high level you’re going to give them and don’t turn all the gain knobs to the point of feedback. Feedback is not a particularly good friend of the sound-tech, nor the rest of the crowd. So next time you are mixing a live gig, remember these tips. Things will inevitably go wrong at one of your gigs but maybe some of these live sound tips might help you out. It’s more stressful but at the same time can be very rewarding if everything works out.
It’s all happening in the now and there’s no undo or a chance to do another take. Live sound mixing is a bit different than studio mixing.
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