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Speaking of Varsity
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<blockquote data-quote="Jake Scudder" data-source="post: 19329" data-attributes="member: 195"><p>Re: Speaking of Varsity</p><p></p><p></p><p> </p><p></p><p>+100</p><p></p><p>I'll talk about my current show, because that's what I know. 24 singers, a 9-piece band, lots of multitrack playback, verb returns, and some "voodoo" channels to do some creative routing on the Profile have me at 104 inputs.</p><p></p><p>That same 9-piece band goes from hip-hop to salsa to pop to rock. Maybe a little reggaeton. How about a little mid-century latin ballad? It's all there. And if you don't know what it's supposed to sound like how can you possibly expect to get the mix right? Just last week I had a great conversation with our musical director about the musicality of my mix. Even in a room where I'm fighting an uphill battle I can help tell the story a lot just by knowing where the music needs to live. When to open it up and excite the room. When to pull it back and put people on the edge of their seats, forcing them to listen and be drawn in. </p><p></p><p>The techniques are subjective and "artsy" sometimes, for lack of a better word. But the results are palpable and very real. I always hesitate to talk about it on a forum because it starts to sound like audiophile speak. The actual mix process is a little organic and "touchy-feely". Line by line dialog mixing? Of course. But how about three fader moves within a single line to get the audience reaction you want? Perhaps. Does it really make a difference? You have to judge it for yourself. But there is real science in the tuning and deployment of the rig (or as much as there can be with the time available). That's why I always invite people out to spend an evening at the desk with me. I'm happy to show them things in real time and offer my opinions. I don't pretend to have all the answers but can at least give the reasoning behind how I put a mix together and let people form their own opinions and philosophies from there. Plus, if you've never seen the juggling act that is mixing a broadway musical, you should.</p></blockquote><p></p>
[QUOTE="Jake Scudder, post: 19329, member: 195"] Re: Speaking of Varsity +100 I'll talk about my current show, because that's what I know. 24 singers, a 9-piece band, lots of multitrack playback, verb returns, and some "voodoo" channels to do some creative routing on the Profile have me at 104 inputs. That same 9-piece band goes from hip-hop to salsa to pop to rock. Maybe a little reggaeton. How about a little mid-century latin ballad? It's all there. And if you don't know what it's supposed to sound like how can you possibly expect to get the mix right? Just last week I had a great conversation with our musical director about the musicality of my mix. Even in a room where I'm fighting an uphill battle I can help tell the story a lot just by knowing where the music needs to live. When to open it up and excite the room. When to pull it back and put people on the edge of their seats, forcing them to listen and be drawn in. The techniques are subjective and "artsy" sometimes, for lack of a better word. But the results are palpable and very real. I always hesitate to talk about it on a forum because it starts to sound like audiophile speak. The actual mix process is a little organic and "touchy-feely". Line by line dialog mixing? Of course. But how about three fader moves within a single line to get the audience reaction you want? Perhaps. Does it really make a difference? You have to judge it for yourself. But there is real science in the tuning and deployment of the rig (or as much as there can be with the time available). That's why I always invite people out to spend an evening at the desk with me. I'm happy to show them things in real time and offer my opinions. I don't pretend to have all the answers but can at least give the reasoning behind how I put a mix together and let people form their own opinions and philosophies from there. Plus, if you've never seen the juggling act that is mixing a broadway musical, you should. [/QUOTE]
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