Comment pouvez-vous mixer l’audio en direct comme un pro pour une petite salle ?

Depending on how small the venue is, don't put a mic on anything but the vocals and tell the bass and guitar players to turn the f*ck down.

1. Preparation: Set up and test equipment. 2. Soundcheck: Balance levels and EQ. 3. Monitor Mixes: Provide clear monitoring for performers. 4. Main Mix: Balance FOH sound for audience. 5. Dynamic Control: Use processing tools to manage dynamics. 6. Communication: Stay in touch with performers and crew. 7. Experience: Continuously improve skills and knowledge.

Here are a few suggestions to achieve great live audio: - Attention to detail is key. Start by thoroughly checking all inputs – from the mixer to microphones – ensuring every connection is secure. - Walk the venue, listening from various points to gauge sound dispersion and address any hot spots. - Calibrate speakers and monitors for optimal coverage. - Soundchecks to fine-tune levels, EQ, and effects. - Consider room acoustics and adjust accordingly. - Maintain communication with the performers to understand their sonic preferences. Finally, always be ready to adapt in real-time (don't leave the board), and address any unforeseen audio challenges swiftly. Remember, every room is different.

Prep and do one's research of the venue in question, with respect to available equipment, acoustics, restrictions as per the local law. The best, Use the venue's acoustics to one's own advantage to create the most memorable and lovable experience.

In a small venue less is often more. If the mix isn't sitting how you like try subtractive mixing. Turn down sources instead of trying to making sources louder.

A proper soundcheck with the band is a must for a small or large venue. Dedicated time to tune the in-house or rented PA system using SMAART Live or similar measuring tools for time alignment. Wireless spectrum scan and radio frequency management for wireless microphones and IEM systems could be challenging in areas like Hollywood, LA Live.

In a small venue, soundcheck is useless if you are going to have a decent turnout. Just check levels and figure out your general feedback situation in monitor world. All else is moot in an empty small room for FOH. Bodies in the room will completely change your sound.

Live shows soul is “ sound “, 1. Keep all the tech riders with additional wires and mics & cabling is very critical in terms of any goof ups. 2. Before even Rehearsals can go on check all the line items related to sound check based on the venue and size of the crowd 3. Indoors again patterns would not be the same 4. sound engineers should maintain Channels - generators with plan B as action items .

The best sound check is a sound check with someone who knows their equipment. If you can do a line check prior to the band stepping foot on atage that is always ideal. Go around and make sure you see signal from each input. If its a direct line carry a sm57 around with you and plug it in instead of the direct box and confirm you see signal. Know the console you're working on, know how to route and access the tools you need. No one wants to listen to the kick drum for 2 minutes, but get it sounding good.

I don’t think it’s necessary to play the whole set for a sound check. The band should have already written the set list, so they can pick a few songs that are different. For instance a ballad then a more harder song so the mixer knows what he need to do with the faders (digital or analogue) when the show is on. Try to get the singers to not point the mic at the foldback wedges! Also, the mixer should understand that an empty room sounds very different to a hopefully full room. People soak up bottom end so understand that the sound will be different from sound check to show.

Let's not over-think this. In a small room, you are just looking for balanced sound, as a combination of what is coming off the stage, and what is coming through the PA. Big effects will just feed back on you, or muddy an already very uneven acoustic situation. Small rooms (under 200 people) are a constant standing wave and comb filter problem. Watch your volume and don't get too complicated. Be ready with the headphones for the inevitable feedback problems that will occur. Even big bands play small shows for VIP's from time to time. You will always run into small rooms you need to work.

I agree with Zack. If the room is 200 people or less you need to just get the balance right. Standing waves are always a problem. You still need some rev on the vocals and like I said some compression but apart from that make sure the sound on stage is not too loud with the instruments. With smaller venues you only really need vocal mics and a kik drum mic. The rest can be controlled by the musicians themselves so they need to understand their amps and pedals to make sure the vocals are not drowned out.

Remember that voices are typically the most important part. Whether it is a singer, a speaker, a voice-over, a video clip, an audience will typically forgive choppy video or a poorly lit stage so long as they can clearly hear and understand the speaker. Don't make the voices to bassy, as it can start to sound muddy and people typically have issues hearing audio at low frequencies. That doesn't mean to make it sound too bright and tinny. Read the room, read the audience, make sure that folks close to speakers aren't getting blown away because you cranked the volume to reach individuals in the back row.

Understand your crowd and the purpose of the audio. Small crowds don't need to be blasted in the face, background music is for the background, speeches need to be heard, jazz and metal won't be the same volume at a small show. Mix for the crowd.

In my experience, the best-sounding show are the one who keep a consistent level, and that is not too loud. Being too loud can ruin a song, or a band and get tired for the audience. It's not a level or volume competition.

One thing I learned early on is that in small rooms what worked last night might not work tonight. Some things I used to do would use the stage sound first without the pa then bring in only the missing sounds into the pa that need to be heard. Another tip is you can soften the sound by stage by mixing in the right reverb play with the mix setting till it sounds just right for the specific room. And most important don’t get caught up just setting it and forget it you need to mix every song and every verse sounds are constantly changing tone and dynamics. The best mix’s I have had hot I have heard are the ones where the engineer is the additional member of the band that no one sees.

Use your ears. Walk around the room. Make any adjustments you feel are needed. During a festival, ask people how they feel and if they can hear everything. The best-sounding shows are the ones who are tweaked the whole time. Don't stop till it's done.

In my experience, set up was before any others were in the venue, I had to walk the room to make adjustments. I did factor in the density of the crowd, so even during I walked the room. Also what sounds your mixing also makes a difference. High ceiling, dry wall or wood, it’s like anything else, preparation, trail and achieve.

Getting out there and hearing different rigs and engineers helps you tailor your craft and skills it will open your mind to try new things. Try to check out all aspects of the show from microphone selection to placement. Use of effects as well as speaker placement and alignment. Learn from the pros they only continue to get work because they are masters of their craft.

Consistency is key. Knowledge is power. Mix as much as you can, learn from others as much as you can, most importantly listen as much as you can. Consume good audio daily, ask yourself "why does this sound good to me" or "why does this sound bad"? Try to answer those questions in detail to yourself and over time you will notice small details right away. Remember good and bad are subjective, horrible sounds can be amazing in context and super clean sounds can seem out of place and wrong. Constantly be asking yourself why and how.

Things must have changed since my day. Scoping every component of the system at pub and club venues like the Marquee and myriad Kings Heads was impractical. And at this level who ever had the “band turn up early so you can run through the whole setlist and set EQ, compression, reverb..” etc in a small club venue when 3 bands load-in at 5pm? Doesn’t even happen on arena tours to that extent. This piece looks like written by a bot and would have been more relevant if it covered some of the technical and timeframe challenges and compromises you’re likely to face due to limited funds and certain personalities you often encounter in such places. Unless you bring your own digital desk/plugins/EQ, its more think fast and work with whats there.

If you have a small venue - around 200 or smaller, stages in the corner seem to perform better than stages against a wall. Use a corner, put big thick curtains up in back of the stage, and if the stage is hollow, fill it with rolls of insulation, or if you want to get crazy, fill it with sand bags. Try to keep the PA subs off the stage, or it will resonate like crazy.

You should mix bands because you love it and it provides a revenue stream if either one of these becomes not true you should step away. Don’t let people take advantage of the craft you have worked so hard on.

….. and the next textbook will be dedicated to making a pair of 10” JBL eon’s sound like M2s and several important psychoacoustic considerations for monitor mixing in the real world.