Jamming with the AR + A4 and mixing the tracks on each so they sound “ok” to me, but I only have headphones, and a pair of ITM micro loud monitors.
What do I need to think about so they sound OK on a sound system in a bar or club? Do I need to run something visual (like spectrum analysis) to check for low/mid build up? Do I need to worry about things like phase cancellation, keeping bass mono etc? Or is it safe to think if it sounds balanced on 'phones on monitors it will be OK on a sound system?
Honestly, you never really know how it will translate until you play it through the club system, there are so many variables.
But, you can get it ballpark… you can go the technical route (spec analysis), or just play it back to back with some reference tracks.
We’re all different, but one of the things that I always end up pulling back through a loud system is my snare level… I know I have a tendency to push it in my studio.
If you want to be really safe out the blocks, you could run the AR/A4 into a compressor to gel the overall mix together.
I have ended up mixing into it (master inserts) all the time.
It does the job.
Though not related to “live” environment.
Can’t go wrong with it.
Does what it says on the tin.
It’ll definitely sound different on a big system but in what way will depend on the system and the room the system is in. They tend to be pretty unique. When I used to play live a lot I got to know my local systems and would prepare my sets according to which one I was going to be playing on as much as was possible. “These guys have almost no mids” or “this system’s bass bins rattle around this frequency band” or “this system bottoms out at 60hz but the room resonates at 75hz” etc… Going to events and listening to the system before you play on it can give you some clues though obviously that’s trickier these days.
You’re definitely on the right path with keeping your bass frequencies mono as it’s almost universal to setup a sound system that way. You don’t want phasing bass.
This probably wasn’t very helpful unless you can either hear the system you’re going to be playing on or have a candid, nerdy chat with the person who runs it about response signatures and such. If you can’t, I’d suggest you go into it ready (and expecting) to adjust levels and eq on the fly to match the system. Something I think is invaluable if you have this resource, is a friend whose ears you trust who can tell you what you need to adjust from the perspective of someone on the dance floor.
This is all assuming that you’re talking about playing a live set rather than recording something that will get played in a club. Totally different approach there. I couldn’t tell for sure from your post. If that’s the case, please ignore this under caffeinated rambling from someone who hasn’t actually done this in a few years.
It’ll do. You can’t be super exact with the AH, but if you leave all the low end in it’ll get muddy as all hell. Most mixers and consoles have a lo cut button, but that cuts everything below 100hz, which is useless for anything other than guitars and vocals.
That is all great, thanks for taking the time to write it up.
I’m talking about playing live but it’s my first go, it is just an open mic event, I only have 10-15minutes, and I’m probably massively overthinking it.
The venue is very local and re-opens soon, so I guess I can go there and get a listen in advance.
No problem.
So that’s a bit different than what I had in my mind. Being your first go and a short set you probably don’t want to spend too much time adjusting to the system live or that’ll end up being your whole set. For a first go I’d lean more toward the “ripping of the bandaid” approach, ie; prepare within reason but don’t get too far in your own head. You’ll learn a lot in that 10-15 minutes no matter how it goes and the next time will be easier.
The other folks in this thread have given you advice that will probably be directly applicable to this gig. I’d keep it in mind.
If you can make it to an event there with the same system before the night you play, you might as well. If anyone plays anything with even vague similarities to what you will play, pay attention to how it sounds. Chat up whoever is in charge of the system, if you can find out where the crossover frequency for the lows/subs is set you’ll know what has to be mono on your end. Report back about the system/ room if you feel like it and folks could likely give more specific advice. Is it self powered two tops and sub? A 30k bowel shaker? Some peavey stuff from the 70s?
I would try recording a mix of you playing your set, either through field recorder or direct into an audio interface. Then try:
Playing it back in your car, on your phone, see what pops out in a good or a bad way, normal mixing stuff.
Load the recording into something like Ozone, where you can compare frequency response of your live recording to some reference tracks. This will show you if your bass is way too powerful compared to mastered tracks, or maybe you’re missing mids, or you have some imbalances across different patterns you’re playing.
Have you tried the other way, A4 > AR and used the AR Compressor as a first stage of compression for your whole Mix? Or maybe you prefer to keep the AR Comp for the Drums only?
Well, it sounds worse to my ears A4->AR. It’s quieter too. I guess the compression/distortion I had on the drums made the drums sound better, but for the whole mix they’re worse.
Still the hardest thing for me is going from “sounds good to me as I jam” to “sounds OK on a car stereo”.
