Why Your Live Mixes Are Muddy (And How To Fix Them)
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- Опубликовано: 6 авг 2024
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We've all watched the same RUclips videos on how to "clean up a muddy mix". Use EQ to cut "these three key frequencies" or "make sure all of your bass signals are mono." Those tactics are all well and good, but I'm MUCH more interested in the principles at play.
What is the root cause of muddy mixes? The truth is there's four main factors that contribute to muddy mixes in a live environment and only ONE of them can be fixed with EQ.
We'll talk about:
- Why EQ can't fix all your problems (across the whole system or individual channels)
- How your own sound system deployment can shoot yourself in the foot
- What musicians do when shaping their own sounds that makes your life harder 
Видеоклипы
For me the mix in context is the biggest tip here, since it is usually the only thing you fully control yourself. So indeed, do the line and individual sound check as quickly as possible. I always work in 3 steps here: gain, high pass and that one nasty tone/frequency that sticks out as a sore thumb. Spend as much time sound checking the band as a whole, and indeed make sure that everything gets its place in the mix.
Great insight here, Tim. Sometimes you're having to walk into a system you had no control over in the first place, so like you said, getting the big picture of the mix squared away ASAP is hugely important.
Great video. Thanks for giving us these details that add up to the mud in our mix.
You're very welcome!
This video is jam packed with valuable real-world information almost to the point of ridiculousness! Bravo, Michael, bravo!
Tightening up my high pass filters is a revelation. I had been foolishly setting my band’s vocal mics to the default 80 Hz. Most of us rarely sing below 130 Hz and our female vocalist doesn’t go below 200 Hz. I also had the high pass filters set to low on our monitors which added to the mud.
I must point out though (because I’m paying attention) that you might want to double check the frequencies you offered for the bass guitar’s D and G strings around 19:00. 😉
Thank you again for an epic video which is truly among the best I’ve seen!
Great advice! Michael is the real deal. As a freelance A1, I have encountered literally everything he mentions here. Wish I had known all of this sooner 😅
Thank you for the kind words, Matthew.
Hi Michael, I stumbled across your page last night and I've been learning so much. Thank you for all the resources and tool suggestions. I'm a full sail grad but ended up pursuing music more than engineering. I recently took a job as a technical director at a church and I'm trying to get current. Your videos are super helpful. Thanks again.
You are very, very welcome!! Keep it up.
Very nice info! I' intrigued by your two-channel analyzer approach, definitely will experiment with that. I understand you do you Tonal Balance Control on the master out. In my view it would be even more useful to use the analyzer channel with the Tonal Balance control. Would that work and be useful?
Thank you!!! It never ceases to amaze me, how much of your expertise I am expected to know because I am a musician. This was a brilliant video and I will be watching more. Have you ever done an episode on what questions to ask when employing or working with an audio engineer or studio producer?
You're very welcome! Are you asking about a video from a musician/band's perspective on hiring a live mix engineer? What questions you should ask?
I appreciate the information. I've observed on two occasions, one at an outside venue and one in a very live room inside venue where the mix was so unintelligible... I was handed the reigns at the last minute to the system on the outside venue and was unable to satisfactorily clear what sounded to me like a low to low mid end loop. This rendered the vocal performance as a muffled mess. Hopefully this will help me if i'm thrust into this emergency sound tech service again.
I love that: "…pay attention to the arrangement…" really good ideas here 16:59
Great players and a well executed arrangement make mix to MUCH, much easier.
Excellent points!
I've learned something from studio producers: If a lead vocalist and guitar are muddying up the mids, stick a compressor on the guitar and trigger it from the vocal channel. With a gentle ratio, and fast attack and release, this is not noticable. It just sounds more clear.
You could do the same with kick and bass. Compress the bass so that it makes space for the kick.
Studio guys are using active EQ. But that's not available on most consoles. I tried using the X32's multiband EQ, but I found it too complicated.
Great tips here! And yes, the multiband compressor on the X32 is a tough nut to crack.
He said “coach our musicians”…. Lol.
All kidding aside, your content is the best on the RUclipss as far as I can tell. I am actually one of those “uncoachable” musicians I’m alluding to above, but I’m trying to learn more about FOH to potentially make a secondary career when my playing days are over. You mostly speak over my head currently, but I’ll get there!
Keep hanging in there! I'm also a musician turned audio human, so know it's possible ; ) You'll find yourself right at home.
You my man are heaven sent! 🤌🏾
Thanks! Happy to help.
Thank, helpful stuff for doing sound. Dad band!? speaking as a dad, I may resemble that.
Thank you! Ha, I'm also a dad playing in a band : )
What do you like as a reference track? We are a 4 piece band. 4 vocalists(we all do lead vocals and harmonies) Drums, Bass, Guitar. Thank you!!! I just upgraded to the M32C and DL32 Midas rig. My subs are Two JBL SRX818SP and my tops are Two SRX835P.
I really like Phoenix by Andrew Holmes as well as John Mayer's Vultures.
Do you have any relevant video's for a single speaker on a stand placement in a boomy room (a small-medium art gallery space) that has no soft surfaces and a floor with wood veneer panels (no carpet). Yesterday the mix sounded really muddy and I'm trying to fix it. So far, I am preparing to remix using EQ to sculpt at the 200 Hz and use a shelf to cut 6 Db below the 100 Hz.
I'd give this video a look first - ruclips.net/video/MjDLIzIGu0k/видео.html
As far as placement goes, I'd get the speaker as close to your main audience and point it directly through the center of that area.
@@MichaelCurtisAudio Thanks and I've watched a couple of your vids for guidance on that. Thanks for your help & keep up the awesome work!
@@jefferykalauta4630 You're very welcome!
Does anyone else actually get an up to date rider from a band? It seems like the bands always send me one that is a decade out of date. Sometimes they don't even reflect what actually shows up on stage. Lots of times a band will send the rider from when they where playing arena shows and now they are playing 300 cap bar room. Sometimes I have to message them and ask if they know they are playing a small club.
One can only hope for one. Sometimes they manage to come my way!
Or they are so vague you might as well not have one… or my personal favorite they are labeled by the names of the the people in the band
why don't people make vocal microphone that pick up vocals only from the original sound source and another type of microphone that only pick up music instrument like drums?
Also make a noise cancelling pad or something behind, the sides and bottom of Speakers that cancel sounds that's coming from the speaker to avoid feedback. Might need to ask Elon to innovate. joke aside great video
Thank you!
What if you have one sub and 2tops
I'd throw one sub in the middle in front of stage.
What if you just have one sub
I'd put it in the center of your rig in front of the stage (or fly it in the center).
My 200 cap venue is so weird acoustically that our 2x18 sub center stage results in no bass for anyone except the lighting booth 15 meters away, where the lighting guy is nauseous because of it. It’s because of wooden flooring covering a big empty storage room below the front part of the audience. It’s like the floor is transparent to the waves. I have to put the sub on the left side of the audience, on concrete, 2m from the stage front line, facing audience to the right. This results in much punchier bass for the people in the front, more even coverage of the whole venue and no nausea in the lighting booth.