# Good videos/guides/tips to learn live sound mixing (for metal)?



## WhiteWalls (Feb 2, 2012)

Hey there, recently some local bands asked me if I can do their live sound, the problem is that I've always been only a studio guy, so I still have a hard time with consoles 

I know most of the stuff one needs to know to make a recording (compression, eq, reverb, delay, how to mic cabs/drums), but besides using a mixer at rehearsals I never tried to do more serious live sound.

These are the questions for you:
- Are there any habits commonly used in studio work that must be avoided live?
- Do you know of videos/tutorials which explain in detail all the functions of a mixing console? In particular things you don't need in the studio, like doing separate mixes for separate monitors, or preventing feedback
- Are there any tips (of any kind) I might need?

Thanks in advance!


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## Baelzebeard (Feb 2, 2012)

You are a studio guy and don't know how to use a mixer. JK

Traditional analog studio and live sound do have a lot of crossover, but of course there are several important distinctions.

First you need to be able to move FAST. You have to set up fast on stage and at the console. And if(when) something goes wrong you need to be able to troubleshoot that shit fast too. The key to this is knowing your signal flow chain inside/out.

You need to be very methodical, take notes if you need to. Plan ahead how you will set things up, down to the last detail, so that you don't try to make it up on the spot.

Be prepared to deal with the unexpected like people knocking shit over on stage, feedback, etc..

And you need to be prepared to compromise some things. You won't be able to change the mic position on the snare mid set if you decide you don't like it, so you will have to deal with problems creatively.

And most importantly be patient and keep a cool head.

The mental stuff is the first thing, the technical stuff comes with time/experience. 

If you know how to get the sounds in your head down while recording, the theory is the same live, just in a big noisy room filled with drunks.

And the first time you do it will probably make you pull half your hair out and shit your pants, but if you keep at it you'll probably love it after it becomes more comfortable(not the shitting your pants part). But mixing monitors will always suck, it's a necessary evil, I mean you have to deal with "artists"


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## KingAenarion (Feb 4, 2012)

Seriously... ask a local soundguy if you can go and sit in on some gigs. I do a LOT of live sound, and I'm regularly paid to do live sound for a lot of local Metal Bands.


Don't throw yourself in the deep end. Spend a bit of time watching how they work. Read up on live sound as much as possible. Particularly, on how to avoid feedback.


Once you have some confidence, try some smaller gigs on smaller rigs. Unlike in the Studio, you don't have time to work out the gear. You probably have the luxury a few minutes to work out where all the buttons and routing are on the mixer. You're not going to have compressors or gates for every channel. Learn how to bus groups if necessary. You may not have much more than a basic 3 band EQ on the desk, so get used to that idea, particularly when dealing with poorly treated and set up rooms with nasty resonances.

Other things to take note of - just like in the Studio, reverb will make someone feel further back in a mix...but with Psychoacoustics you'll really fuck with peoples heads if you overdo the reverb and they won't know why, but they'll hate it.

Get the band to get the lowest stage volume possible if they're using Amps... explain to them that no one in the audience cares that their boutique amplifier sounds better if you push the power amp section. Explain to them in no uncertain terms that if you have control of their volume out front, they'll sound much better.

Bring some decent cables with you too, because you never know when you might need them (guitar, Mic etc)

I could rant for hours and hours and hours... but my final pieces of advice...

Like in the studio, you want to monitor the sound from different sources. Check through headphones, get away from the desk and go down into the audience section... those kind of things.

And don't be afraid to ride that fader like you would want to ride Scarlett Johannsen... often


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## xiphiod (Feb 11, 2012)

I agree with everything that's been said. 

If you are lucky, (and if you have time) you can clear out the room after the mics are set up and "ring the room" (or don't clear it out, it's just annoying to everyone)

if you have a graphic EQ you can devote to this, it's a really good way to reduce feedback

Turn the mains up to playing volume, and keep going until something feeds back. Find the frequency band that the feedback falls in, and cut it until it stops. Repeat until you can get it all the way up with no feedback, or you can't cut any more. This will also tell you where the limit will be.


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