Even as in person events resume, the increase of livestreaming we saw in 2020 is here to stay. For a concert to sound great both live and remotely, it’s important to recognize that there are two mixes at play serving different needs - one for the venue and one for the livestream. (If we sent the FOH mix straight into the livestream encoder, it likely wouldn’t translate well.)
In this video, veteran engineer and corporate audio specialist Brian Maddox discusses a couple ways in which general approaches to FOH and broadcast mixes differ.
One crucial consideration is the difference in dynamics. When we attend a concert, our ears expect a wide dynamic range. The output will be loud when the band is playing a heavy song and much quieter in between songs or as the artist is talking to the audience.
If this were the case when we watch a livestreamed concert at home, we’d constantly be turning the volume up and down to compensate. For a livestream, or even just when we watch television, our ears expect to hear everything at roughly the same level. Because of this, broadcast mixes require a much smaller dynamic range. Here Brian shares how some of his go-to tools like dynamic EQ, noise reduction and compression help create that tight dynamic range without totally overprocessing the mix.
Another major distinction is the number of outputs. As an FOH mixer, we get to be physically present in the room where the mix will be heard. We’re working with one PA system and this is the basis of our mix decisions. However, a broadcast mix will ultimately be heard in many different ways. Instead of focusing on one PA, we now have to consider how the mix will translate over a broad range of outputs like speakers, laptops, headphones, AirPods, and phones.
This conversation is just the tip of the iceberg, but the topics discussed are a great entry point for FOH mixers or anyone looking to expand their basic knowledge of broadcasting and webcasting.
6 окт 2024
