If you’ve ever been to a large concert, and had to sit through an opening band, you might have noticed that they usually sound not as good, compared to the headliner. The opening band often does not have much time to soundcheck, and their sound engineer is pretty much creating the mix as they go.
Frankly we should always be working, always making sure all the instruments are in the proper place.
You could be listening and think, “Wow, I can’t hear the snare or the electric guitar.” Then you start to hear the instruments come into the mix in the “rock and roll“ list order. The mix keeps getting better and better and may actually sound decent by their last song. Of course, by then the set is over, which is unfortunate for the opening act, but that’s the nature of concerts.
To create the biggest and fullest mix possible, you need to think fundamentally. Let’s look to the “Rock & Roll Priority List.”
1.) Kick
2.) Bass
3.) Snare
4.) Guitars
5.) Keyboards
6.) Vocals
The above breakdown shows instruments in order of foundational priority (not the order of volume level) as you begin to mix, which will set you up for a big, full sound.
Start with the kick. Get it to the level that you want, then bring in the bass guitar. The kick and bass should live around the same volume, because they fundamentally work together as the foundation of the mix.
Next bring in the snare. If you listen to a lot of music you’ve probably noticed that the snare is typically a predominate instrument. Set the snare volume on top of the kick and bass.
Bring in the electric and acoustic guitars and you’ll hear the mix begin to fill out. Then add the keyboards, the glue of the mix.
Finally, bring in the vocals and set them on top of everything.
The distance between the vocals and the band should sound natural and creative, but in a worship setting, the vocals need to be heard clearly above the rest of the mix.
If there are additional instruments, they can be added into this priority list based on what frequency range they cover. For example, add a violin or banjo to the list with the guitars.
Circular Mixing
Imagine your mix is a clear bucket. As you look at it from the side, the kick is at the bottom, then the bass, snare, guitar, keyboards, and the vocals near the top of the bucket.
You can clearly see each section.
If you look at the bucket from the top, you can see through to each instrument. You always want to be able to hear everything you see on stage.
Kick, Bass, Snare, Guitars, Keyboards, Vocals
Using this priority list, you will continually cycle through all the instruments on stage. The mix will naturally get better with every pass.
A mix doesn’t just happen, it takes time and effort. You don’t just set it and forget it.
On one pass, think “Do I hear the floor tom? Nope.” Then push up the floor tom and cycle through again. “Do I hear the keyboards? The synth?” Push it up. “Do I hear that background vocalist?” Push him or her up. “Is that electric guitar too loud? Probably.” Turn it down.
Frankly we should always be working, always making sure all the instruments are in the proper place. Most importantly, think musically! Listen for what will best serve the song, what instrument drives it. Mixing is organic in nature; it ebbs and flows. If you’re thinking to yourself, “But I don’t know where the proper place is!” It’s OK, don’t forget that you are partnered with your worship leader.
Ask questions, ask for help, get feedback from the band and your audience. Be willing to take the criticism. It will take time.
Remember, you don’t have to do this alone.
Mixing volume sound is, of course, very relative. What’s loud to one person isn’t loud enough for the next. When it comes to mix volume, it needs to be a decision that comes from the leadership. For us sound engineers, we must honor that decision, and try to keep the mix within those guidelines.
For modern contemporary worship, my guideline at front of house, or FOH, is 85-90 dBA. Anything above that makes people feel like they’re at a concert, and a lower volume may cause a disconnect.
The volume will naturally rise and fall, but I personally feel that an average of 90 dBA with a good, full sound is emotionally engaging and conveys beauty, although it’s possible to have a full mix at lower volumes.
There’s a psychological connection between volume level and full sound. If you’re mixing and think it feels great, then suddenly mute your subs, you might find that your big, full mix now sounds brash and thin.
Without the subs giving you low-end frequency coverage, your previous volume seems too loud. Bringing the subwoofers back in will reverse the effect and your ears will once again find the volume pleasing. This also speaks into having enough low-end instruments in the mix, as well as what the subwoofer coverage looks like.
Having enough subwoofers built into your sound system is fundamental in building a full mix; it is not just about being louder.
Mixing well certainly involves an element of understanding the capabilities of your sound system and your band. If you attend a small church with two speakers that are pole mounted, you can’t try to sound like the big church next door with their giant line array sound system.
I encourage you not to force a mix on your system and your congregation. You’ll end up hurting one or the other.
Embrace what God has blessed you with; take care of it and make the most of what you have. Create something beautiful.