top of page
  • Michael Fay

How to Ruin a Mix

Updated: May 9, 2020

This morning I sat in church listening to a wonderful 150-voice choir, an 8-person front-line vocal team, a 40 piece orchestra, and a tight rhythm section that included a grand piano, B3, electric and acoustic guitars, electric bass, and a full acoustic drum kit.

Because there are so many acoustic instruments and voices being miked, the drums are in a fully-enclosed plexi booth. The sanctuary stage is not an ideal acoustic environment for all this sound in close proximity, but it’s workable for most arrangements.

However… today, for some reason, the FOH engineer was running the overhead drum mics way too hot in the mix. What a waste of amazing talent.

So, what’s my problem?

The problem was the constant drone of metallic hash noise coming from the ride, splash and crash cymbals. Why are you (you know who you are) miking and routing those cymbals to the main mix buss? Well maybe the Death Metal guys can get away with this, but for everyone else, please continue to read on. Click here to see the rest of the story.


Recent Posts

See All

Going Way Beyond

Complex automixing using a virtual digital mixing console I was so tempted to give this piece a geeky marketing title or sub-header suggesting VR (virtual reality), AR (augmented reality), or AI (arti

Acoustic Shadowing

Unpacking Wave Numbers, and Introducing the Wave Ratio Thesis Ok I get it. This topic may be too esoteric for many, but if you’re truly interested in learning all you can about sound propagation and a

bottom of page