Before I dive into the technical part of music mixing, let me get a little philosophical. One thing I’ve noticed recently, both in studio mixes and live shows, is a lack of understanding of what I call the “spotlight.” Borrowing the concept from theatrical and stage lighting, in music the spotlight represents the focus, the center of attention, the brightest point in the song or on the stage. For this article, I’ll stick with live sound mixing though the same concepts apply to studio mixing.
Focus
As soon as a song’s intro starts, there needs to be a focus. It may be as simple as a drum pattern or a keyboard or guitar lick, but the mix shouldn’t just sit there. The mixer needs to inform the listener where the focus is. Then, when the verse starts, the spotlight should change to the singer or the solo instrument. If something is getting in the way of the central figure, such as the guitar player turning up louder than the lead singer, then the mixer needs to move them out of the way, by turning them down, panning them away from center, or EQing them differently.
Problems
Here are problems I frequently hear and how to solve them:
1. Vocal melody and harmonies
The lead singer (or lead instrument) will usually have the melody line. I visualize the melody and the harmonies as a triangle or pyramid. The lead singer should be at the top of the pyramid with the harmonies supporting and lower in volume, like the bottom of the pyramid. They may be very close in volume, but the melody should always have the spotlight. In some arrangements, the melody may be passed around among singers, which keeps it interesting for the mix engineer! If you don’t know the singers’ voices well enough to distinguish them by listening, then ask the singers who has the melody. They will appreciate you inquiring since it’s clear you’re trying to make them sound their best.
2. Drums
Rarely will the drums have the spotlight unless there’s a drum solo. At many live shows, unfortunately the kick drum is louder than everything else in a mix. Unless it’s a kick drum solo, use the spotlight concept and let the kick and snare support the vocal or lead instrument, which is the focal point of the mix.
3. Turnarounds and transitions
In the intro to a song or in the turnaround (the part of the song where the chorus goes back to a verse), there’s usually a musical signature lick. During the rundown or rehearsal, listen to those sections and see who is playing what. While providing this musical interlude with a focal line is the arranger’s job, making sure the audience hears it is squarely on the mixer’s shoulders. Imagine a live show where the visual spotlight is turned off between the verse and chorus. Awkward. When the singer finishes, know what player is taking the fill and make sure they are turned up, so they take the space left by the singer’s absence. This makes for a more engaging, more satisfying listening experience.
Solutions
Here are some ways to maintain the spotlight:
If you are working in stereo, one way to get an offending instrument out of the spotlight is to pan it away from the center to keep it from crowding the singer’s space. If there’s an instrument that has a lot of sonic energy in the same region as the singer, then carve that out with EQ. Another option is to go to the player and politely note that their chorus or delay or EQ is making it hard to fit them in the mix. If they can sense that you’re really trying to make them sound their best and want to turn them up as loud as possible, then they are usually happy to help out.
Conclusion
Approach mixing as if you’re the conductor of a symphony who’s balancing the parts for the best representation of the music, instead of trying to make sure all the instruments can be heard. The listener will be treated to the best interpretation of what the performers are doing onstage. And that is the ultimate goal.