3 Differences Between Live and Studio Mixing
Live sound mixing varies greatly from
studio mixing. The fast paced adrenaline rush of the concert venue
versus the calmer and quieter work area of the recording studio.
Studio mixers can take their time while the live sound tech has to
think quickly and react in real time so the difference can be
significant, even though some might say they are doing the exact same
thing. Besides this, there is also a difference in their
workstations. Mixing desks in a live situation can be very different
than the one used in a big recording studio. Let’s go through some of
the main differences between both the mixing desks and their
respective users.
1. Different Types of Desks
In big recording studios, you usually
come across big mixing desks that have two types of faders on the
same track. These mixers are called In-Line mixers.
The SSL 4000 G+ In-line Mixing Desk
Photo by Pablo Albacete
This is the SSL 4000 G+ In-line mixing
desk. Without going into full detail of its complexities, notice how it has two faders per channel. It has a large fader
at the bottom, and then a small fader above. You use the different
faders for different things, depending on which stage you are in,
whether it be recording, mixing or overdubbing. When recording, this
desk jumps into a different position than when mixing.
The basic signal flow when recording on
the SSL is as follows:
- Signal gets picked up by the
microphone and goes into the microphone input of the desk.
- It then Goes down the channel path to the
large fader first.
- After that the signal shoots up to
the routing matrix, which is the assortment of gray buttons at the
top of each channel.
- From there it goes to the
recorder, or multitrack. Now the large
fader controls the amount of signal that gets sent into the DAW.
- Now we have to listen back to
signal as it comes back to the desk from the multitrack. As you send
the signal back into the desk it goes into the routing matrix again,
down the monitor path to the small fader. The small fader are the
tape return faders, where you listen to what’s coming from the DAW.
It’s important to listen to the signal
after it goes through all of the equipment as it might be changed
by the equipment. So listen how the signal is going to sound on tape, not
how it’s coming in. By being able to control both the level of the
signal going into the desk with the normal gain knobs, and then the
level going into the multitrack (DAW, Pro Tools, etc.), you get a higher
degree of control using an In-Line desk than a normal one.
Not a lot of people have the
pleasure of working with an SSL everyday. And some don’t even like
working on an analog desk. I find it tiring to work on the SSL
because if you are mixing and you want to come back another day to
finish, you have to take down the position of every fader, every knob
and every setting so you can recall it again when you come back. And
that sometimes doesn’t work because you find that you can never put
it back exactly as it was.
Digital Studio Desks
Because digital audio has gotten better
and better over the last decades, digital mixing desks are often
used instead of the old analog mixers. In a digital mixing desk you
can save all your settings when you leave, and recall them exactly as they
was before. This is a huge advantage when you aren’t the only one
using the desk.
There are two types of digital mixing desks out
there: one has built in EQ, compression and effects processors,
effectively working like a normal mixing desk; and the other is
only a control surface. A control surface looks like a mixing desk,
but it only controls the DAW you’re working in.
The Control 24 Pro Tools Controller
Photo by Pablo Albacete
This is the Control 24 Pro Tools
controller. Although it has pre-amps, it isn’t actually a mixing
desk. It’s hooked to Pro Tools in a way that whatever you do on the
desk, moving faders, panning etc, happens directly inside Pro Tools.
So in a way, it’s just a really cool and powerful mouse. These types
of controllers come in handy when you like mixing inside the box, but
want to be able to push faders and twist knobs for a more human feel.
I prefer moving faders on a console than moving them inside a DAW
with a mouse and I imagine most of you like that too.
When you only want your audio program
to act as a big playlist, and like using built-in EQ or compression
of a digital desk, there are a few options out there for you too.
Normal digital mixing desks are hooked up to an audio program and
each channel inside the program linked to a dedicated fader. You
don’t have to use the audio program more than you want to, as you
have built-in processors on the desk, but by using both things at the
same time you can get best of both worlds. For instance, you can save
the processing power of your computer by using the EQ and compression
of the mixing desk, and then using more dedicated effects, or
automation inside the program.
The Tascam DM-4800 Digital Mixing Console
Photo by Pablo Albacete
This is the Tascam DM-4800 digital
mixing console. It has built-in EQ and compression and two
multi-effects processors. This one is hooked up to Logic and can work
as a controller, like the Control 24. But it is more powerful than
the Control 24 which only controls Pro Tools, and doesn’t have any
internal processors. As said before, many people like working in
digital because it allows them total recall of every setting they had
the day before. On the Control 24 you just save the Pro Tools file
and the desk recalls it exactly as you save the file.
On the Tascam
you save your session inside the mixing desk itself, and when you
come back it will recall every setting from it’s memory. With digital
there comes convenience, and although many people still argue over
the sound quality of digital versus analog, you can’t argue that
digital mixing desks are way more convenient than the analog ones.
Mixing Desks in a Live Situation
In live sound situations you don’t need
all that excess baggage of an extra pair of faders like on the SSL,
or the need to control Pro Tools remotely. You aren’t recording
anything and you only need the sound to go straight into the desk and
out again to the PA (public address system). So live sound mixing desks have
a more simplified look and signal flow.
The Soundcraft GB2 Live Mixing Desk
Taken from Soundcraft.com
This is the Soundcraft GB2 live mixing
desk. Notice how much simpler it looks. It only has one set of
faders, the control room to the right is a simple affair with only a
master fader and two sets of group faders. This mixer is much easier
to handle compared to the SSL with it’s various modes, routing
matrixes, faders and groups.
The signal flow is as easy as it gets
as well:
- The signal goes from the microphone to
the mic input of the desk.
- The signal goes down to the fader at
the end.
- The signal goes to the master fader
and out to the PA.
That’s as easy as it gets.
There are digital mixers available for
live sound as well. These work in a similar way to the Tascam DM-4800
as they have built in processing such as EQ and compression. With
normal analog live mixing desks like the GB2 we need dedicated
outboard processors and effects to enhance the sound, but that’s
built-in to the digital mixers. So in a way, as the sound industry
becomes more digital every day, our lives become easier. At least we
have to lug less stuff around in a live sound situation.
2. Different Types of Sound Engineers
There is also a difference between live sound engineers and mixing engineers, and the way they work. Some
studio mixers need their rack of effects and a lot of time to mix
their music, while the live sound engineer has to make do with what he
has.
Even if the studio mixer only mixes inside the box with his DAW, the result is bound to sound much better than some of the garbage sound systems the live engineer needs to work
with.
Do you prefer this?
Or this?
Photo by Pablo Albacete
3. Difference in Time and Creativity
There is a benefit involved with being
able to take your time in the recording studio that you also don’t
have when you are trying your best to make a live band
sound tight. In the live venue, you only get one shot, and there’s
only one performance by the band. So you’d better make sure that
performance sounds great because there’s no undo button, no punching
in for a better take and certainly no editing.
Being able to get the best performance
out of the artist is a great thing in the studio, and editing
together the perfect take is a joy to mix afterwards. Studio and live
performances are a pleasure to mix, but if you get an insecure
vocalist for example, you can’t edit his good takes together in a
live venue. At least in the studio, you can end up with a convincing
performance after heavy editing.
Time for creativity is also more
available when you are working in the studio. A live sound
performance only has the members of the band playing their
instrument, so the general sound of the concert is dependent on how
tight and good the band plays. But in the mixing studio you have room
to play around with delay, reverb, overdubs and layers. You have
more tracks to choose from, more time to tweak parameters and
generally more creative freedom. There are no mixing engineering
secrets in the live venue, it’s all dependent on the band.
Conclusion
Although the field of studio sound and live sound encompasses the
same basic principles, the approaches needed for each one is
different. Whether it be different attitudes or equipment there is a
certain uniqueness to each situation.
Live sound is based on fast
paced decision making where the music in going on right in front of
your eyes while a studio mixer might be able to take his time,
fine-tuning his mix to perfection. The same applies to the equipment,
where a live sound desk needs to be easy to navigate and control,
while the studio mixing console has more complexities in it’s signal
flow.
In my opinion there is no better job. There is joy to be had with mixing a great performance coming
out of a great sound system, and there is also satisfaction to be had
with creating a great take out of many mediocre ones. It’s all a
matter of taste. Sometimes live sound can rule the world, and
other times studio mixing is the calm comfort zone you want.
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I’m the type who would prefer studio mixing, if only because I’m a perfectionist. I haven’t tried live mixing but I assume it would be pretty fun.
Great article, however i would love to hear more about live performances, like monitor mixers, etc…
I like to mix live performances the best!
Mostly because i like the feeling when you just got the right sound for the band, and for a second, you can stand back, and enjoy the band, but only for a short moment, then its back to you mixer.
Thanks. Just so you know, I wrote an article about monitor mixing a while ago. You can read it here: http://audio.tutsplus.com/tutorials/mixing-mastering/how-good-monitor-mixing-enhances-a-performance/
I agree with you wholeheartedly, I love live mixing, it’s pure thrill.
wow, ehm, actually read that, pretty embarrassing to forget that, cause it was really good!
well, keep it up!
This is a ridiculous article full of misinformation. Obviously the writer has limited experience and only worked in his own home studio.
SSL INVENTED TOTAL RECALL!!! With one push of a button the entire console returns to zero and is stored. Every movement on every function plays back in real time. They also have the ability to integrate fully with a DAW– desk will write to computer or the computer can write seamlessly to desk.
Live consoles are immensely complex in high end touring applications. They have to be as (A) they handle double or triple the inputs a studio desk does and (B) analog is still favored over digital for many reasons– the superiority of dedicated processing being one of them, not to mention superior pres.
Live and studio engineering is diametrically opposed in thinking. Newbie mixers always boost the EQ in their home studio. In live you always dip. If you need an education on this, research the creation of Moog synths. As skills develop each learns the subtleties of EQ and do both. This is just a singular example but, I could go on and on–but who has the time.
Finally I will say this, over my 40 years in the industry as a professional engineer: live mixing is infinitely more difficult. The most skill studio mixers will die if they were suddenly put behind the console. However, the realm of studio mixing is far deeper and in depth as to the engineers skills and development to deliver a professional product.
Hi Akira, thanks for your lengthy comments – I enjoyed reading about your experiences. But though you disagree with the author, your “obvious” assumptions about his inexperience are quite incorrect. Disagreeing is fine – personal flames are not.
Interesting comment Akira, I have to agree with you as we use an SSL Duality at the studio, running the analog desk into DP, best of both worlds… as for you “flaming” the author… well…
1. With your sole and accurate opinion you pretty much contradicted what the author said proving hes not a professional engineer.
2. About the “obvious assumptions,” well i gotta laugh at the moderator this time, as you don’t get those “obvious assumptions” which i believe and know is actually called personal experience of a seasoned engineer who has crossed with so many ignorant and idiot people on a daily basis during his long career… Plus with your sole and accurate opinion you pretty much contradicted what the author said.
P.D. Studio recording is not relaxing or calm at all, at least not if you’re a true not “home studio wannabe” recording engineer… lets say Snoop dog or Stevie Wonder walk into the studio and wants you to finish a product ASAP… they’re paying you 100 bucks an hour, do you think you have the time and opportunity to fuck up and yes try it over and over again? Sure you only get this when you’re the best in the bussiness, but isnt that the true purpose of every career?
Digital better than analog… MY ASS Hahaha
I remember going from my own little personal 4 channel mixer that I used just to blast music in my room. Then to go a music school and working their 30+ channel mixing board. I wish there was audio tuts around then, to give me a few pointers such as this.
Pro Live Gigs have particular Mixing thechs, merging live and studio tech: Stuff like tuners master buss comp, they fader. Remember often, when you are listening to a live session recorded It is a “fusion” between the real live and the engenner’s adjustments. To Do that, they need mega P.A. gear during the live. Well, we have to say also that when you live you have 2 mixer |stage-mixer| and |Hall/Room Mixer|.
I have been stay behind the live mixing desk(mostly monitor) for almost 27 years. All I can say is abouth difference between live and studio work is, I traveled all around the country, meet alot of strange people and had much fun on the road. Not in a room.
Interesting article, I prefer studio mixing over live, and mostly do it in the virtual digital domain these days.
BTW, some of the G series desks had something called Total Recall – took a snapshot of the desk settings which could be re-called – they even had motorised faders – so they had the benefit of both digital convenience and analogue sound. I was lucky enough to visit SSL when I was a Music Tech student back in the late 80′s, and we got to play with one.
Good article, touched on many of the key basics that makes live sound different from recording. One thing for those interested, is to know what you personally want. Do you want recognition and in your face respect, or do you want quite satisfaction and humble peace of mind that thing went well because of you. In live sound, You as an audio technician whether doing monitors, house, or running cables, are the last to get recogonized. The artisit or host will thank the bus boy or garbage man before you. Also, when starting out, there is a lot of teaching that goes on between you and the begginner artist. You have to be ready to explain things like stage volume, monitor mixes, what at DI is, Proper microphone technique and different mic pickup patterns, etc, etc. Unless you are working with seasoned proffesionals, most musicians are ignorant. The seasoned pros have stage coaches, stage managers, vocal coaches, yada yada anyway! Live sound is a tough gig and like Rodney Dangerfield said, “O can’t get no respect.” and trust me its not cause my mixes wern’t good lol. You just the unsung hero and thats the nature of the gig, end of story. But if you like excitement, danger, adrenaline, the unpredictable, chaos, insanity, screaming and cursing at you coworkers and/or friends, wanting to kill them and/or the band, hanging out and being best friends later; maybe live sound is for you. But there is and inner peace, inner satisfaction that goes with being a live guy. Plus, live guys are rude crude and and straight up dicks to each other, thats how we communicate…., there is no time to be nice and worry about feelings, shit has to get done! So if you play ball like a girl (no sexist remark really ment so dont get bent outta shape!, cause I know a couple women who will kick most mens ass on the board) the stick to the studio, its safe and warm. But if you want to live on the edge an see what your made of, live sound can be a thrill and a fkingng half. are you tough and confident or are you maticulous and careful. are you……………….. you get the idea….. have fun
Having worked as a live audio engineer for the last 10 years, I take exception to the statement that “There are no mixing engineering secrets in the live venue, it’s all dependent on the band.” Watch Keller Williams’ live engineer play his desk like an instrument, while singing backing vocals, and tell me he’s not tapping into an arcane art. Live engineers must be on their A-game every night, battling feedback, (which doesn’t come into play in the studio) nailing cues and running the system at the edge of its limits without blowing anything up. When’s the last time you had to worry about frying a voice coil in the middle of a mix-down session?
Live engineers may have a bit more rough and ready approach than the fussy studio guys who often can’t tune a room to save their lives, but we still require a good amount of technical skill and musical sensibility.
Thanks for the great articles!
One other small gripe, how ’bout a bit more parity on the gear comparisons? Of course no one wants to mix talking heads on a 300 dollar MixWizard, in front of a loading dock, as your Live audio picture seems to represent. Drop a couple hundred grand into a Midas Heritage and a v-dosc line array in a decent venue (Red Rocks, anyone?) and now we’re comparing apples to apples.
Didn’t want to double up on the comments, but ‘strue, us live guys just “can’t get no respect!”
overall pretty good article. try dabbling with mixing the live sound and recording at the same time… yes just one person. granted i did record with protools or some great equipment, but in less than 30 minutes i was able to setup a way to record from the board. a few patch cables, some quick setting adjustments in garage band, and a couple few hours of after show play on my macbook i have a reproducible and decent sounding live recording… i prefer the one shot mentality to test myself and, as the others so eloquently mentioned, just sit back and enjoy the beauty of a crowd and band in a room/stadium filled with rich sound.
*that was supposed to be: “granted i did not record with protools”
Sorry dude. I’,m the nutter that prefers the little live desk. :.)
Thank you for a beautiful article. Truly a great piece.
More grace to you…
Felix Emeka Anyiam
Audio Engineer
Kingdom Audio College
(An official Institution of the Audio Engineering Society, USA, 454)
Lagos, Nigeria
im just a junior sound engineer ,but my aim was to one day mak an impact i studio coz i love and would enjoy working in a studio but thought that live events is a stepping stone.