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What's your mix mindset?

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Tim Weaver:
If you want me to mix, then I mix it my way. If you want me to ride faders, then I do it your way.

Either way, I get the vocals out there nice and loud, then work on all the other less important stuff after that. If it's just a one-off mix for a band I've never heard before then I just do the basics and make a nice, easy mix.

If it's the band I tour with then I go all out and do the special verbs and effects. I don't get crazy if it's a one-off....

John O'Brien:
The parameters you put on the test here change a few things mindset wise, but for me, my main goal stays the same. And that's the ability to make music given the tools at hand. I take the mix mindset of allowing everything to be heard and fit in a pocket of frequencies. No one comes to hear a band and only be able to hear vocals and drums. Everyone on stage is there for a reason and it's my job to translate that to the people listening. When I am able to connect myself with the guys on stage, I am able to connect the band to the audience. If I have no clue what's going on, there is a disconnect there and it shows. As Chris Hindle said, of course having a soundcheck is king, but it doesn't always happen. I'm not much a fan of telling the people who run the gig and rig what's wrong with it, unless they straight up ask me. I do try to get feedback as I go along, especially if people have just handed me the reigns without giving me much to go off of. After all, I want to make sure my client is happy with the services I've offered.

Airton Pereira:
I would listen to the music and go from there!
I mean, what could sound better? Maybe more low-end on the bass, turn up the vocals...
My goal is to allow everything to be heard at a decent volume, with vocals on top.

Stuart Pendleton:
With the parameters of the situation given, the show is about riding faders.  As a sub, I don't assume I am supposed to make radical changes to what the BE normally uses.  The regular guy has the job because the talent likes what he/she does for them already.  If the system settings are where they were from the last show, I expect to change what is needed to make that system sit well in the current room. A quick glance at the faders should tell me what the band expects the mix to sound like, and I am subbing, not taking over the job, so they will stay similar to what you handed me.

George Dougherty:
You seem to have several questions and scenarios there.

No matter what, you go off your ears.  Some go-to settings as far as comp timings, etc. may be appropriate, but only so you've got a workable starting point to tweak from.  My go-to settings on dynamics are usually timing only with thresholds dialed out so I don't start squashed.  IMO, dynamics only help tighten things up but are not required to get a good mix.  I don't touch EQ outside of sweepable HPF's before I hear things in the mix.  IME, that often leads to fixing things you broke without hearing it in the first place.

Stepping into a mix already preset, I'd be much more conservative with adjustments unless I was told to go for it and change whatever I felt needed to change.

Being handed the reigns up front, I'd do it all my way from the get-go.

Either way, the approach and mix balance itself depends on the genre of the performance.


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