Jon describes how to use two microphones on the snare drum, one on the top, or batter, head and one on the bottom, or resonant, head to enable the engineer to mix in the direct sound of the snares, which are metal wires stretched across the resonant head with varying degrees of tension. There are phase issues to address here as well as the usual gain, eq, insert and routing decisions to be made.
See the mixer from Jon’s view as he rustles up a mix of the Gomez track, “Options”, demonstrating the speed with which live engineers have to work.
Walking the room to check the dispersion and the balance.
Jon & Justin investigate the house system in the Plug, Sheffield
Jon and Justin set up the front of house console in The Plug. There are many things that need to be considered when choosing a mix position.
Jon and Justin, as visiting engineers at The Plug in Sheffield, explore their territory and assess the tools at their disposal.
Final touches and conclusion.
Getting a basic mix together.
Working on the vocals and introducing effects.
Working on the electric guitar and the keys.
Why it's best to work at the zero point of the faders.
Working on the acoustic guitar
Working on the overheads and balancing the kit.
Jo gets to work on the kick drum.
Jon talks about patching and connecting the console.
Jon gives us a unit by unit breakdown of the various pieces of outboard in the effects rack.
Jon gives a comprehensive tour of the Soundcraft Series 5’s master section.