Home Worship & Creative Leaders Articles for Worship & Creative What Every Good Mix Requires—and How to Do It

What Every Good Mix Requires—and How to Do It

mix good church sound

How many times have you been at a live event and the audio didn’t sound right? More than once, I’m sure. And I’ll bet the problem had to do with balance. Balance is all about relationships. Hang with me, because I am going to ask you to commit!

Mix relationships are the key to good mixes. It’s not about the type of audio console or which plug-ins you have, though those can help. Before a good studio engineer or live engineer ever thinks about grabbing a digital plugin or slamming down some reverb, they get their relationships right.

There are three areas of mix relationships:

1. Technical relationships.

This is the stuff you get from stage and the stuff you mix. It’s really about four properties of sound and how each mix channel uses them for differentiation and constructing those relationships. These properties are:

• Volume

• Frequencies

• Effects

• Stereo placement (panning)

Channels have to be balanced so they each sit in the proper place in the mix and that’s done by altering or adding (in the case of effects) these properties.

2. Vocal relationships.

Whenever there’s more than one singer, the vocalists need to be balanced in some way. They might need to be blended if they sing together or it might be a duet where each can stand out. And let’s not forget all the work on backing vocalists and blending them together while supporting the lead. Vocal relationships are so important.

3. Instrument relationships.

Let’s think about the main areas of a song; the lead instrument, solo instrument, rhythm instrument, percussion and the song hook. In those first four, a small band might have the same instrument occupying more than one position. But the rhythm guitar can’t be so loud that it washes out the keyboardist who is playing the song hook—the hook, those repeated notes or musical phrases that many times define the song.

The instruments have to be in a right relationship with each other. Maybe the bass is out-front this song, but the next, it’s tucked in the back.

How to Create Balance

Now let’s talk about how to create that balance. Some people can hear balance just by thinking about it. That’s cool. Other people need a little more help so let’s consider the 3D model. Some digital mixers (and soon an IEM system) use a stage display on their screen to aid with this—the closer to the front of the screen, the louder, and location on the stage is for panning.

The 3D model works like this. Pick up two objects, each represents a sound source. Let’s say you have a pen and a pencil. The pen is the lead vocal and the pencil is the acoustic guitar. Then follow below:

1. Place the pen and pencil next to each other, at arm’s length away from you. That’s both sounds at the same volume, no panning.

2. Move the pen (vocal) closer to your face. That’s the vocal volume increasing.

3. Move the pencil (guitar) a foot off axis, to the right. Now the guitar is panned slightly right.

That’s the basic idea of audio in a three-dimensional mix field. Wherever the object is placed, that’s where it would sit in the mix. But wait, we’ve talked forward and backward and left and right but what about up and down?

Use up and down to think about frequency dominance. Therefore, the bass guitar would be down low and an instrument like the acoustic guitar would be higher up (higher frequencies). But how exactly do we get these different up/down, left/right, front/back separations?

A good relationship has to allow for individuality and that’s gained through separation.

How to Create Channel Separation for Balance

Remember those four technical relationships? Here’s where they come into play.

1. Volume separation.

After I set my gain, I move to volume balancing. I’ve seen this accomplished a few ways. A friend of mine runs all his faders hot and then pulls them back to where they should be. I go the other route. I start them low and then bring them up, always building. Drums, then bass, then guitars, until my vocals are on top. Either way, what’s important is the first step in mixing is getting a general volume balance before doing anything else.

I will note that if there’s a channel that needs a healthy amount of compression, I’ll add that at this time. So at this point, the volume balance is good but I will have to revisit it as modifying EQ and adding effects can throw these volume out of whack a little.

2. Spatial separation.

I noted in a recent article, Improve Recordings With these Panning Tips, how panning can help a recording or live stream. See that article if you’re running a mono house mix but sending a stereo mix for recording/live stream. With a house stereo mix, this can be tricky depending on the layout of the room. The wider the room, the more stereo separation you can get. And while your FOH location might be dead center, if you pan an instrument too far to one side, the people on the other side of the room might not hear it at all.

In general, kick drum, bass and lead vocals would be centered. The kick and bass are omni-directional sounds anyway. Apply slight left and right panning to the toms (if two toms, pan one slight left and one slight right). Instruments can be panned a bit farther out to the side of the stage in which they’re located. The goal in panning isn’t to create an amazing stereo mix—save those for listening to music on headphones. What you want is enough panning to provide spatial separation thus added clarity.

Is panning necessary for a great mix? No. Does it help? It can when done well.

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Chris Huff is the author of Audio Essentials for Church Sound. He also teaches all aspects of live audio production, from the technical fundamentals to creative music mixing to keeping your sanity. Find out more at www.behindthemixer.com