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Speaking of Varsity
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<blockquote data-quote="Justice C. Bigler" data-source="post: 19311" data-attributes="member: 74"><p>Re: Speaking of Varsity</p><p></p><p>Hey man, no need to get snitty. </p><p></p><p>I just figured a big time touring rock engineer like yourself would have a lot of experience and some pretty solid opinions on what works in the matrix com world. Mixing probably less than 2% of my job. The rest of my time is spent loading in and loading out shows, designing systems, installing systems, filling out forms and doing paper work to get new systems in, training users, helping other less experienced techs work through our systems. Right now my big concerns are not what fucking kick drum mic is best, or whether the third lead guitar is covering up the second lead guitar player's girlfriend's tambourine solo (actually I guess I'm fortunate that we don't do those kinds of shows here).</p><p></p><p>Once you get to a point, mixing a show is mixing a show. It's part of the job just like dealing with the vidiots that come up to you 10 minutes before the show starts and want an audio feed, or dealing with the complaints that the IR system isn't working right, or that the talent back stage can't hear the stage manager pages, or trying to explain to a new crew how to properly patch a stage set up, or keeping the stage clutter as clean as possible. There is so much more to being a full time professional sound engineer than just what the mix sounds like, and in a lot of jobs, you don't even need to be able to mix. There's a TON of guys out there making really good money who all they do is design, install and tune systems and only rarely get to mix a show. It's probably worth noting here, that if the system isn't designed and set up right, it doesn't really matter how good a mixer you are, it's going to sound like shit. Once you get a properly built and installed system, mixing is the easy part--it's really not that hard.</p><p></p><p>I could tell you all about my mixing philosophy, but I doubt it would help you in your job one bit (since I deal with orchestras and theatre). Even the guys mixing on Broadway, all they really do is mix the way the sound designer wants them to.</p><p></p><p>I guess I'll go back to playing with my protractor and see how much string and how many soup cans I need to wire up 6 separate rooms and all the ancillary production and tech areas.</p></blockquote><p></p>
[QUOTE="Justice C. Bigler, post: 19311, member: 74"] Re: Speaking of Varsity Hey man, no need to get snitty. I just figured a big time touring rock engineer like yourself would have a lot of experience and some pretty solid opinions on what works in the matrix com world. Mixing probably less than 2% of my job. The rest of my time is spent loading in and loading out shows, designing systems, installing systems, filling out forms and doing paper work to get new systems in, training users, helping other less experienced techs work through our systems. Right now my big concerns are not what fucking kick drum mic is best, or whether the third lead guitar is covering up the second lead guitar player's girlfriend's tambourine solo (actually I guess I'm fortunate that we don't do those kinds of shows here). Once you get to a point, mixing a show is mixing a show. It's part of the job just like dealing with the vidiots that come up to you 10 minutes before the show starts and want an audio feed, or dealing with the complaints that the IR system isn't working right, or that the talent back stage can't hear the stage manager pages, or trying to explain to a new crew how to properly patch a stage set up, or keeping the stage clutter as clean as possible. There is so much more to being a full time professional sound engineer than just what the mix sounds like, and in a lot of jobs, you don't even need to be able to mix. There's a TON of guys out there making really good money who all they do is design, install and tune systems and only rarely get to mix a show. It's probably worth noting here, that if the system isn't designed and set up right, it doesn't really matter how good a mixer you are, it's going to sound like shit. Once you get a properly built and installed system, mixing is the easy part--it's really not that hard. I could tell you all about my mixing philosophy, but I doubt it would help you in your job one bit (since I deal with orchestras and theatre). Even the guys mixing on Broadway, all they really do is mix the way the sound designer wants them to. I guess I'll go back to playing with my protractor and see how much string and how many soup cans I need to wire up 6 separate rooms and all the ancillary production and tech areas. [/QUOTE]
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