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Broadcast Mixing Approach

3. Broadcast Mixing Approach

Section titled “3. Broadcast Mixing Approach”

Broadcast mixing differs significantly from front of house as you are mixing to a loudness level rather than a room.

  • Loudness Levels: Mix to a loudness level metered by the final plug-in on the master bus. The target levels are:
    • -13 LUFS for worship
    • Around -18 LUFS for speaking This helps maintain a consistent volume for listeners and limits dynamic range, preventing them from constantly adjusting their device volume.
  • Building the Mix Foundation:
    • Start with the drums, ensuring the kit is well-balanced.
    • Add bass, keys, and guitars to build a full sound.
    • Keep a good amount of the track (pads, backing tracks) in the mix to fill out and support the sound, but never let it overpower the band.
    • The goal is to hear everything as a unified unit, not individual components sticking out.
  • Mixing Vocals:
    • Create a solid band foundation for the vocals to rest on.
    • Vocals should sit with the band, not apart from it, and should not stick out too far, which can sound jarring.
    • The lead vocal should be prominent but not overpowering.
    • Background vocals (BGVs) should support the lead vocal and sit in the back of the mix.
    • Use Planning Center to know who is leading the song to ensure the lead vocal is never buried.
    • Adjust BGV levels as needed using their control group.
  • Using Effects:
    • Reverb: Used to create depth and dimension, making the mix sound like it’s in a space rather than flat.
      • Use sparingly to avoid washing out the mix.
      • Can be used on drums (especially toms and overheads for sustain), snare (for a nice tail), keys, and guitars.
      • Can help mellow out a bright guitar or add sustain to vocals.
      • More reverb may be used for slower songs, less for faster songs.
    • Parallel Compression: Used on drum shells (kick, snare, toms) to add punch and support the drums. Blend it in carefully to avoid an overly “pumped” sound.
    • Delay: Can be used creatively on vocals for throws or as a recurring effect in the background for dimension. Tap in the tempo for vocal delay. Go easy on the delay and blend it in so it’s not too noticeable.
    • Effect Movements: When adjusting effects like delay, make movements slowly and deliberately.
  • Incorporating Audience Mics: Fade in the audience mics to include the sound of the congregation (singing, praying, clapping, saying amen) and add depth and dimension to the mix.
  • Dynamic Mixing: The mix is always changing based on the song arrangement, instrumentation, and dynamics of the band. Keep your hands on the console and respond accordingly to the band’s dynamic level changes.
  • Preparation and Practice: Familiarize yourself with the songs, arrangements, and who is leading to anticipate changes and understand how the song will build and change. Practice is key to anticipating and responding to the dynamics of a live service.

By following this guide and practicing, volunteers can effectively mix broadcast audio at GKM using the Digico S21 console.