![]() Fortunately, DSP technology has supplied a means to have hundreds of (virtual) outboard units on any given mix and - unlike analog mixing - the necessity to choose which track should receive the assist from an outboard processor has turned into choosing which plug-in not to apply. Most engineers have an arsenal of tools they use on a regular basis to create their sound and, as engineers, we become reliant upon these particular pieces. How they achieve a “good” mix depends upon how that engineer conceptualizes the music at hand, how well they hear and their ability to manipulate the given technology. As long as the proper tools are provided for the space, then the sonic quality of the show becomes the responsibility of the engineer hired to mix the event. We are all aware that an EDM concert should not be mixed in the same way as a symphony orchestra, and vice-versa. To be clear, not every mix should - or can - sound the same. What sounds good to one person does not necessarily sound good to everyone else. Although newer amplifiers, speaker arrays and delays have enabled us to get more clarity and coverage in any given space, there is still the issue of psychoacoustics and subjectivity. Of course, this is a challenge thate seems to be right out of the Idiot’s Guide to the Sound Universe - a real “Duh” moment - but we all know this task is easier said than done.Īdvancements in technology have provided us with more comprehensive tools at fingertip’s control with which to work. There are very few rights and wrongs regarding the sound of a live audio mix, and while there are multiple ways of arriving at a final result, the ultimate criteria for assessing said mix should be that it sounds and feels good in the space one is trying to fill.
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