Unconventional Mixing Techniques: A Veteran Sound Engineer's Approach

The Unorthodox Approach of a Seasoned Sound Engineer

In the world of live sound engineering, conventional wisdom often dictates a set of standard practices. However, there are those who, through years of experience and experimentation, develop their own unique methods. This article delves into the unconventional mixing techniques of a veteran sound engineer with 45 years of experience in the industry.

A Disclaimer: Not for the Faint of Heart

Before we dive into the specifics, it's crucial to note that the techniques described here are highly unconventional and not recommended for general use. The engineer himself warns that following these methods could potentially lead to job loss. These techniques have evolved over decades of personal experimentation and should be viewed as an interesting insight into one professional's unique approach rather than a guide to be followed.

The Unconventional EQ Technique

The Graphic EQ: An Old-School Approach

Despite the prevalence of digital consoles in modern sound engineering, our veteran engineer still relies on a graphic equalizer. This choice might seem outdated to some, but it forms the foundation of his unique approach to sound shaping.

The Low-End Philosophy

The engineer's EQ technique starts with a focus on the low end:

• 20-80 Hz: This range is left flat (0 dB). The engineer explains that this allows for maximum low-end output from the PA system.
• Above 80 Hz: All other frequencies are initially pulled down to -15 dB.

The Process of Adding Back

After setting this initial curve, the engineer plays a reference track (specifically mentioning the James Newton Howard and Friends CD) and begins to add frequencies back in. This process aims to achieve the maximum amount of low end without compromising clarity or causing pain to the audience.

Frequency-Specific Adjustments

The engineer's approach includes some very specific frequency treatments:

• 160 Hz: This frequency is consistently cut by -15 dB. The engineer expresses a strong dislike for this frequency, believing it sounds "horrible" on drums and most other sources.
• 315 Hz: Being an octave above 160 Hz, this frequency is also reduced, though not as severely.
• 400-500 Hz: These frequencies are brought back up closer to flat.
• 630 Hz: Another dip occurs here, as it's an octave above 315 Hz (which is an octave above the disliked 160 Hz).
• 800 Hz to 1 kHz: The curve returns closer to flat in this range.

The "Pain" Frequencies

A significant aspect of this technique involves dramatically cutting what the engineer refers to as the "pain" frequencies:

• 2 kHz - 4 kHz: This range is heavily attenuated. The engineer emphasizes that these frequencies can cause physical discomfort to listeners when pushed too hard.

The High End

• 5 kHz and above: The EQ curve returns to flat (0 dB) from 5 kHz up to 20 kHz.

The Philosophy Behind the Madness

Loudness Without Pain

The primary goal of this unconventional EQ technique is to achieve high volume levels without causing discomfort to the audience. By removing the "pain" frequencies and the "cloudy" midrange, the engineer believes he can push the overall volume higher without negative consequences.

A Lesson from Tina Turner

The engineer cites his experience mixing for Tina Turner as a formative influence on this technique. He faced the challenge of delivering high volume levels (as requested by management) while ensuring the show remained enjoyable for a multi-generational audience. This led to the development of his pain-avoidance EQ strategy.

Improved Clarity for Drums and Vocals

According to the engineer, this EQ approach enhances the sound of drums and, to some extent, vocals. By removing the "cloudy" midrange and painful high-mids, he believes the key elements of the mix can cut through more effectively.

Channel EQ: Less is More

When it comes to EQing individual channels, the engineer takes a minimalist approach:

• He's not afraid to make significant cuts, up to -15 dB if necessary.
• Boosting is used sparingly, with a preference for cutting unwanted frequencies rather than boosting desired ones.

The Mono Mixing Philosophy

Another unconventional aspect of this engineer's approach is his preference for mixing in mono. The rationale behind this choice includes:

1. Consistency: Everyone in the audience hears the same mix, regardless of their position in the venue.
2. Fairness: The engineer argues that if a fan of a particular musician has paid for a ticket, they should be able to hear that musician clearly, regardless of where they're seated. Panning could potentially deprive some audience members of hearing their favorite performers clearly.
3. Practicality: While stereo mixing can sound great in the center of the room, it doesn't translate well to the entire audience in most live venues.

Respecting the Source

Despite these unconventional techniques, the engineer emphasizes the importance of respecting the natural sound of the instruments and performers. He cites examples:

• Alex Van Halen's snare drum sound is preserved as it naturally sounds.
• Eddie Van Halen's guitar tone is maintained, with the engineer's role being primarily to amplify rather than significantly alter the sound.

Loudest Performers

The engineer shares some insights on the loudest performers he's worked with:

• Loudest Guitar: MC Mars is mentioned as the loudest guitarist he's mixed.
• Loudest Drummers: Alex Van Halen and Vinnie (likely referring to Vinnie Paul) are cited as particularly powerful drummers.

Critical Analysis of the Technique

Potential Benefits

1. Audience Comfort: By aggressively cutting the "pain" frequencies, this technique might allow for higher overall volume levels without causing discomfort to the audience.
2. Clarity: Removing the "cloudy" midrange could potentially lead to improved clarity for certain instruments, particularly drums.
3. Consistency: The mono mixing approach ensures a more consistent experience for all audience members, regardless of their position in the venue.

Potential Drawbacks

1. Loss of Depth: The severe EQ cuts could potentially result in a loss of depth and richness in the overall sound.
2. Lack of Stereo Image: Mixing in mono eliminates the possibility of creating a wide stereo image, which many listeners and engineers appreciate.
3. Inflexibility: This one-size-fits-all approach may not be suitable for all genres, venues, or performer preferences.
4. Potential for Thin Sound: Aggressively cutting mid-range frequencies could lead to a thin or hollow sound in some cases.

Conclusion: A Unique Perspective on Live Sound

The techniques described in this article represent a highly personalized approach to live sound mixing, developed over decades of experience. While these methods diverge significantly from conventional practices, they offer an interesting glimpse into how a veteran engineer has adapted his craft to achieve specific goals:

1. Maximizing volume without causing audience discomfort
2. Enhancing clarity for key elements like drums and vocals
3. Ensuring a consistent listening experience throughout the venue

It's important to reiterate that these techniques are not recommended for general use. They represent one individual's unique approach, shaped by years of experience and personal preference. For most sound engineers, especially those early in their careers, it's advisable to start with more conventional methods and gradually develop their own style as they gain experience.

Ultimately, this unconventional approach serves as a reminder that sound engineering is both a science and an art. While there are established best practices, there's also room for innovation and personal interpretation. The key is to understand the fundamentals, be open to experimentation, and always prioritize the audience's experience.

As the live sound industry continues to evolve, with new technologies and changing audience expectations, it will be interesting to see how approaches like this adapt and whether elements of such unconventional techniques might find their way into more mainstream practices. For now, it remains a fascinating insight into the mind of a seasoned professional who has found his own unique way to deliver powerful, clear sound to audiences night after night.

Reflections for Aspiring Sound Engineers

For those considering a career in live sound engineering, this unconventional approach offers several points of reflection:

1. The Importance of Experience: While formal education is valuable, there's no substitute for years of hands-on experience. This engineer's techniques evolved over 45 years of working with various artists and venues.

2. Knowing the Rules Before Breaking Them: It's crucial to understand conventional techniques and why they exist before developing unconventional methods. This allows for informed decision-making and problem-solving.

3. Audience-First Mindset: Notice how many of the engineer's choices are driven by concern for the audience's experience. This audience-centric approach is crucial in live sound.

4. Continuous Learning: Even after 45 years, this engineer is still refining his approach. The willingness to learn, adapt, and improve is essential in a rapidly evolving field like sound engineering.

5. Understanding the 'Why': Each unconventional choice is backed by a specific reason. Understanding not just what to do, but why you're doing it, is key to developing your own style.

6. Balancing Art and Science: While there's a technical aspect to sound engineering, there's also room for creativity and personal interpretation. Finding the right balance is part of developing your craft.

7. Respecting the Source: Despite all the processing, the engineer emphasizes the importance of respecting the natural sound of the instruments and performers. This highlights the role of the sound engineer as an enhancer rather than a creator.

While it's unlikely that many will adopt this exact approach, the underlying principles of prioritizing audience comfort, maintaining clarity, and ensuring consistency are valuable lessons for any aspiring sound engineer. As you develop your skills, remember that there's always room for innovation in live sound engineering, but it should always be in service of delivering the best possible experience to the audience.

Article created from: https://www.youtube.com/watch?v=kIBYcExFZ2Y&list=PLJl5-ed3MyPXnrJJGuUIlMnIQBW-KMYP5&index=25