The Submix

In live sound, we need to know how much volume we have in the speaker system before clipping.

In live sound systems, clipping an audio signal can eventually damage a speaker. This can be expensive to replace.

The wireless audio landscape is changing year by year, which makes the job of an RF (Radio Frequency) coordinator increasingly important.

Once we have a good mix we need to route it to the output of the mixer.

You can assign input channels to VCAs or Subgroups, but they function differently.

Compression can help you build a well balanced mix.

Gates are especially effective on percussion and other transient sounds.

Both Parametric and Graphic EQ can dramatically alter a sound, but each tends to work best in specific situations.

Soft Patching is a super handy feature of digital mixers.

Correctly setting input gain is the first step to a great mix.

Being aware of a microphone polar pattern can help you control what gets in (or stays out of) your mix.

This handy trick has been a life saver when I’m mixing monitors from FOH.

Direct Boxes (DIs) are how we connect electrical audio signals to the mixer.

A speaker may need more than one channel of amplification.

The needs for PA zones varies on the venue and type of performance.

Many engineers use both a mic and a DI for bass guitar. This gives us options while building a mix.

Two input sources for the same instrument don’t always line up perfectly.

Microphones can “color” a sound by their unique frequency response.

The type of cable you use determines how far you can run the signal.

Manipulating frequencies is one the main ways we shape our mixes.

Ribbon microphones can provide a much different sound than dynamic or condenser mics.

Bass guitars can present unique challenges.

A Matrix lets you mix your output busses.

A Buss is the path that an audio signal takes.

A transformer isolated splitter keeps the mixing consoles electronically isolated, but causes issues with phantom power.

We use varying signal levels throughout our audio system.

To use our audio system, we need to transform acoustic sound waves into electronic signals.

It’s not as painful as it sounds.

It’s easier to control the directionality of higher frequencies.

Low frequencies are difficult to control.

We have many options for microphones, but some tend to work better in certain situations.

System Engineer is one of the most critical audio positions in large-scale productions.

Great sound for artists can mean more than just an IEM mix.

Every venue carries its unique set of challenges.

If you’re new to livestreaming audio, start by making sure you have a solid understanding of LUFS.

It’s critical to think about dynamic range when mixing for broadcast.

Tour Managers keep live music running.

Alice shares some of her experiences working as a live sound engineer.

Plug-ins can be wonderful audio tools to use, but they aren’t always seamless.

There are tons of options for how to mic a drum set. Here’s where I start.

Residencies are increasingly common for touring artists.

As a freelancer, I get to work with a variety of amazing artists.

I give you a behind-the-scenes look at prepping for a big music festival.

Scaling up to arena-sized shows can have its challenges.

Normally we don't think about timecode in live sound — but it can be an effective tool.

It was fun mixing live comedy shows with Fred Armisen​ — even though we had a different mixing console almost every night.

Sometimes you don’t have all the prep time you need for a show.

The pressure involved with mixing live music can be intense — but also very exciting!

There are many different audio positions in live music production.

Sometimes it takes persistence to get the job you want.

One of the main reasons I like my job is touring with amazing colleagues.

Having a clear idea of the signal chain can help you troubleshoot effectively.

Amanda Davis discusses her experience in live sound.

Being in a TV studio usually means working with the program’s engineer to dial in a mix.

Many audio engineers start in the studio before transitioning to the live music industry.

Specializing your audio skills can be a great way to focus your career.

What’s the most input channels you’ve ever needed for a show? I ask some pros.

The acoustics in large arenas can be very difficult to manage.

Just EQ it until it sounds good.

How much gear do we carry with us on tour?

TPA contributor Brian Maddox discusses the nature of sound, how it relates to audio, and the importance of “getting it right at the source”.

TPA Contributor Madeleine shares some amazing knowledge from her audiology studies.

Electromagnetic induction creates current from a changing magnetic field. This can mess with our audio systems.

These two types of current power every aspect of our production.

All electrical circuits function by controlling the flow of electrons.

Hearing loss is not a one-size fits all condition.

Sound levels are measured in “decibels,” but what does this actually mean? TPA contributor Madeline Campbell explains the science.

In-ear-monitors carry risk of hearing damage. Audio pros know how to prevent that.

To understand the difference between dBa and dBC, we need to look at the frequency curves they use.

In a small venue, we don’t always need everything in the PA.

Hearing safety is important. Here are some thoughts on how to approach it.

Doing outdoor festivals can be a nice change of pace from being inside.

Using correct terminology on stage helps keep everyone on the same page.

Custom molded IEMs and earplugs are important tools for audio pros.