I’ve also built mixes where the artist preferred non-standard panning arrangements, such as all backing vocals extreme-panned to one side and the primary vocals to the other side, or the classic Beatles panning of all instruments on one side and all vocals on the other.
Working with your artists is the only way to insure you get what it is they wish.
In building the musical bed of the mix, I again go with the “less is more” mantra, sticking with the basics.
The techniques include mic selection, placement, and working at the source to get the best result possible before it’s introduced into the equipment.
Some mix engineers have specific mics they use in all instances on particular instruments. My approach is to listen to each individual instrument or vocal, and then select the input devices I think will best represent each of these sources.
Of course, this isn’t always possible, and in many cases, is easier said than done. Some artists may have favorite mics, or you might not be in a position to carry your own mics and instead must rely on a limited selection from the provider.
As a result, it’s best to know how a wide variety of mics work and then what may be best in your specific application.
Being able to dictate what you use is the best-case scenario, I’ve heard many mixes that were compromised by the mix engineer applying a one-size-fits-all philosophy to dynamics processing, so you need to be flexible enough to deliver the desired results when equipment choices are limited.
Stare Of Doom
When working with the individual inputs that comprise the mix, again, I try to keep equalization to a minimum, and strive to use none.
This isn’t possible in many cases, particularly if I can’t dictate the mics or control the source. At this point, it’s about listening and making only necessary changes.
Rather than just “fishing” for the EQ points, it’s better to know where in the spectrum needs to be adjusted.
A big pet peeve of mine is when a mixer isn’t ear trained and needs to bump the frequencies to see if they made the right guess. That’s annoying enough through loudspeakers, but if the artist is using IEMs, you’ll likely get the stare of doom.
I tend to apply more processing – particularly reverb and multi effects – when mixing IEM than in a traditional wedge environment. It’s not uncommon to have a half-dozen effects units and a dozen or more dynamics processors.
However, while I may use more devices, they are used sparingly, only enough to get the desired results. I’ve heard many mixes that were compromised by the mix engineer applying a one-size-fits-all philosophy to dynamics processing.
Simply, it’s better not to use these tools rather than letting them detract from the mix. Be especially aware when using compression on vocalists – too much and they might compromise mic technique and vocal style to compensate for the effects of the compression.
By sticking to the basics and properly using the gear you have, it’s not rocket science to craft quality IEM mixes. Using common sense, being methodical and organized, and knowing the equipment helps in better dealing with any situation.
Finally, command of the craft instills the artist with a sense of confidence. This, in and of itself, will keep you working for many years to come.
After being a touring refugee for the last three decades, Dave Stevens is now sequestered 35 feet below the Las Vegas Strip, in charge of Monitor Dungeon on a large, modern circus-style production show.
