The wall of sound is created when every channel in the music mix fights for sonic space and no one wins. Imagine all the channel volumes are equal so there’s no spatial separation in the mix. The bigger the band, the easier this can happen.
This wall of sound mix happens for a few reasons:
- Poor arrangement.
- Unbalanced mix.
Notice I didn’t directly blame the band with point number one. They know how it’s supposed to sound and likely base their arrangement on a well-produced mix. However, when everyone plays “all in” on a song, your mix work needs to account for that combined energy and balance it out.
Point number two needs some explaining. A music mix requires balance of areas that include volume, effects, and EQ so every instrument and vocal supports the song. For example, you can’t crank the bass on a song that’s primarily lead by an acoustic piano. You can have the bass at a lower volume, with just the right settings to provide the bassline without getting in the way of the piano. But, this is only two channels as an example. This balance needs to span across all channels.
You can accidentally create a wall of sound – I know, I’ve done it. It goes like this. You get a general mix sounding pretty good and then decide the electric guitar needs a volume boost. Then you think the bass might need a boost. But where did the keyboard go? Boost that. Next thing you know, everything is loud. Those are times when EQ changes might have been a better solution. I’ll cover that in a minute.
What to do with a Wall of Sound
The best way to avoid it is to plan for it. Know how a busy song should sound and mix accordingly. If you’ve attempted to do that and still get the wall of sound or the arrangement calls for changes mid-song and you are suddenly hit with it, follow these steps:
1. Pull back instruments that aren’t key drivers in the song.
I’m not saying to pull them out of the mix. This volume change will be the most dramatic fix to the wall of sound problem. Also, feel free to pull back all the volumes, if during a practice or sound check, and then carefully add channel volume back in.
There are two options for this:
- Start with the lead instrument and lead vocal and layer everything underneath.
Or
- Start from the low end frequencies and work up. So, start with drum, then bass, on up until you get to the vocals which will end up on top.
2. Listen for competing sounds and cut where necessary.
Common competing sounds are bass and kick drum. Also two electric guitars. Pick the instrument which sounds best in that frequency range and apply an EQ cut to the other instrument in that range. As a tip, first check that you aren’t boosting the frequency in both instruments – I’m guilty of that one. By using the frequency cuts, you can get a little more volume out of an instrument that might fall too far back in the mix.
There might be a time when you want to raise the volume of the band. Don’t use the individual channels. Use the main mixer fader which then keeps the balance.
The “Wall of Sound” can happen to anyone. Listen for it and use volume and EQ changes to alter the mix when it does happen.
Want to take this to the next level? Check out the below article on the simple way to build a music mix. Or, really step it up and get the full guide so you can create a great music mix every time.
Cajundaddy says
July 9, 2017 at 5:03 pmWell I am afraid I only partly agree with this. :)
If you get the gain right and zero all the faders your mix should be pretty close. Why? Because musicians know who is leading and who is not. The background instruments intuitively play softer when not the lead instrument. The background vocalists back off the mike a bit when not leading, the drummer lays back a bit on the verses then gets big on the chorus. Mixing live worship is very different than mixing a recording where musician dynamic levels and EQ are printed on the track. Know and respect the difference.
The sound tech needs high awareness of this and only touch the faders to fix problems, not redo what well trained musicians are already doing dynamically. Being oblivious to dynamics that are already happening leads to TMI (too much input) from the novice sound tech and a see-saw in the dynamics as they continuously chase the lead instruments and vocals. “If it ain’t broke, don’t fix it” and “keep it simple Sherlock ” are my mottos when mixing live music. Get the gain right, adjust levels and EQ to fix problems, and get out of the way. We are not onstage performing and as sound techs we need to be as sonically transparent and invisible as possible for best results.
TMI, where the novice sound tech is continuously adjusting faders chasing lead instruments and losing the rest of the band, is one of my greatest disappointments when sitting in a worship service as part of the congregation. I often observe a service with huge kick drum and bass pumping from the subs, and I can see the acoustic guitar playing the intro but can’t hear them at all. Or a worship leader is playing keys but I can’t hear the keys at all. Both are usually a result of TMI from the sound tech who needs more training and guidance.
JMNSHO
David says
May 9, 2017 at 9:59 amAs I’m sure you’re aware, the “Wall of Sound” does have other allusions, notably that of famous music producer Phil Spector’s methods of filling out mixes so that the music doesn’t sound hollow or weak: https://en.wikipedia.org/wiki/Wall_of_Sound
For someone like me, I’d be interested in a different name for what you’re describing (and calling negative) since, for me, a “Wall of Sound” has a more-or-less positive connotation! ;c) For me it equates a full, rich, musically enveloping experience, which is, in my opinion, a VERY good thing in a worship context as it allows the worshiper to fully engage instead of worrying about how loud they are singing vis-à-vis a wimpy sound coming from the worship band.
Just my 2-cents worth.
Chris Huff says
May 10, 2017 at 2:34 pmDavid, good point. Now that you mention it, I’ve heard it both ways. More dependent on the age of the person that uses it.
David says
May 10, 2017 at 2:41 pmYeah, I guess so. I’m 55 (and a drummer and an electric guitarist) so I like me some good full rock ‘n roll! ;c)
Bryn says
April 30, 2017 at 1:57 amVery useful info, thanks Bryn Anderson
Sheldon says
April 28, 2017 at 6:36 pmThanks this info will me very much , sometimes we want to drive so hard everything gets loud and you lose the vocals.
Otto Pebworth says
April 28, 2017 at 5:58 pmOne thing I started doing when mixing groups (4-6 vocalists) in a difficult setting (gymnasium!) was to have them stand in a circle and sing a-cap and no sound – then go “to position” and do the same thing – then added the monitors so they could “just hear” themselves. From there, added the instruments, and then house. Worked like a champ on getting rid of “the wall” in that setting…
Chris Huff says
April 30, 2017 at 8:46 pmGreat idea! And a gymnasium is a beast in itself.
Enoch says
May 17, 2017 at 4:44 pmI want to know how to use the groups effectively
Chris Huff says
May 30, 2017 at 9:43 amI used them for groups instruments and vocals. For example, groups for backing vocals, guitars, drums, keyboards. This way, if you want to change the volume of the drum kit or the backing vocals, you can use a single fader.
Mark says
April 28, 2017 at 5:51 pmFor us, the wall usually shows up in the monitors first. It’s been a constant battle even with only 2-3 channels in some of them. Building acoustics behind the band may be a factor. I’ve sensed that wall though before in the main mix when a lot of channels were busy. I’ll try your tips. Thanks.