My mom used to say, “never assume anything.” This is never truer than with audio production. I’ve made many a costly mistake because of an assumption. I made one just last wee…um, never mind I said that.
I’d normally jump in with a story but today, I’m getting right to the details!
The Costly Audio Production Assumptions:
1. Assume the last sound tech had it right.
Unless the band and stage setup changed between the last service and the current service, “most” everything should be the same. Same musicians, same instruments, same channel assignments, same gain settings, etc. A good audio tech knows that even with the same band and instruments, EQ work will vary week-to-week and in many cases, from song to song.
The problem occurs when the assumption is made that last week’s sound tech had the right microphone placement, gain settings, monitor settings, and foundational EQ’ing. Before jumping into the sound booth, check the drum mikes and the monitor placement and then go behind the mixer and review the existing settings. Don’t assume everything was right or done the best way.
2. Assume the audio console was reset.
Back when I worked on an analog console, we mixed a different worship band each week. Doing so, my first step was resetting the board. Gains, filters, EQ’s, everything! I’d even reset the board after the service as a favor to the next audio tech.
It’s fairly easy to look over an analog console to make sure everything is reset. No reason to be boosting the low end on the drums while the HPF is engaged.
Then comes digital mixers. Create a scene, save it, base other scenes on it. The problem comes with creating the first scene. A new scene can be saved and titled, “NEW SCENE.” Channel routing is done, channel labeling is completed. The basics.
The problem is when the new baseline scene is based on a prior scene. Copying a scene, EVERYTHING is copied. Every channel setting. Why is my electric guitar cutting out? Oh, last week this channel was used for something else and had a heavy gate.
Before starting any mix work, review the console so settings which should be off or reset are so.
3. Assume there’s enough equipment.
How many spare XLR cables are available? How many extra vocal microphones do you have? The smaller the needs, the easier it is to make this assumption. “We have everything we need.” You do? Great. By the way, next week you are getting another guitarist and another vocalist.
It’s good practice to regularly inspect the equipment, from cables to DI boxes to microphones. Through this process, record the number of WORKING spare items. The day a new audio production need comes up, you should be ready.
4. Assume nothing bad will happen.
The channel strip died. The wireless mic died. The wired mic had a short. The guitarist left the pedal muted for tuning. My list of bad stuff could go on. In my early days of audio production, I’d be flipping out. Now, I keep a cool head because I know bad stuff will happen and I plan for it.
Planning for bad stuff is the best way a tech can reduce anxiety. Much of it is proper prep work like checking on battery life and inspecting audio cables. Some of it goes a step further. For example, having a spare wireless microphone or wired mic available in case of emergency.
For the rookie sound tech, look at all the ways equipment could fail and plan for those failures. Make a Plan B. For those with some experience under their belt, make a Plan C. Yes, I’ve had to make a Plan C.
The Take Away
Audio production requires a lot of technical knowledge – see the majority of this site’s blog posts. It also requires we bring our A-game. The minute we make an assumption is the minute we open ourselves to failure. Be aware of these four dangerous assumptions and avoid them at all cost.
I am so glad I found this subject area. I am a studio engineer, producer, songwriter, musician and performer. I have never been able to explain to the audio engineers what to do to make my voice sound better. mostly, I have to trust that they should know how. Since I can’t be in 2 places at one time, on stage and at the console. I need to learn how to tell the sound person what I want. I don’t have as much experience in being a sound technician live as I do in the studio and it is very different and you don’t get a second chance because it is mixed live as you play. I hope after reading your books I will learn how to share the right information. As I have had many performances ruined by bad audio mixes. And I had no control of what was going on for the the congregation and the audience was left with a disappointing audio experience. It’s not just church and you just turn it on and off. It’s about Jesus and our musical testimony. We have to approach all music ministry with real serious professional attitude and that means we are always learning and willing to take some constructive advice. People want to volunteer to help in the church somewhere anywhere just to help out, but if you don’t know what you are doing. Remember that God can use you somewhere else if you aren’t willing to learn how to mix the music right. The music experience is meant to have an emotional and personal testimony as we witness our faith and talents. We can’t share our testimony at it’s best if the sound person doesn’t even try to do his best too. Thanks for this website. Looking forward to reading all your material. Bless you!! Brenda
Greetings Brenda,
I would look forward to mixing for someone like you, who is willing to learn what to say. “You get strange looks from performers, but no words. I’d prefer to have someone stop between songs, and tell me what they need, instead of continuing on and acting disgusted.
I think I might know who you are. Is your family from the Rittman, Ohio, area, and do you sing together as a traveling group? If so, I have mixed for you in the past. We might end up crossing paths again. I might have to come around and give you a small audio quiz. See how good of a teacher Chris is.
(BTW, I’ve found this website informative and containing good information) You’ll get some good commentary by searching here