![]() ![]() On-stage, if you’ve been using a lot of compression on vocal channels, try backing off or turning the compressors off completely in the mix, and A/B’ing that against what you’ve been used to. ![]() But keep in mind what they’re doing is affecting the dynamics of your music. On record, compressors and limiters can make vocals and instruments really feel cohesive and gel together. We’re going to start sounding like a broken record, but treat your stage mix differently than your studio mix. Also, many musicians who are still adjusting to in-ears after relying on wedge monitors over the years have noted that a lot of stereo information happening at once can be a major distraction – as information bouncing between the left and right ears causes their brain to focus on this, rather than the levels in the mix and other instruments they’re supposed to be taking cues from during a song. If one earbud pops out mid-song, you don’t want critical audio information not reaching a band member on-stage because a certain instrument was hard-panned to that ear, and now they can’t hear it. ![]() Again, this isn’t a clinical listening environment, and the world’s not perfect. Mixing too much stereo information when sending a monitor mix to in-ears can also be an odd aural experience for musicians on stage. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |