Composer Intention vs FOH Mixing

When running a live show with audio tracks, who should have control of the initial mix: Front of House mixer or the original track software output. A great argument was put to me (which was compelling enough for me to whole heartedly agree with) that the initial output should reflect the composers intention. The FOH mixer can make adjustments from there.

Common setup is:

  1. Software running live with original tracks on multiple separate audio outputs.
  2. Combine sounds with live musicians
  3. Front of House mixer programs automations for the live show along with on the fly audio adjustments during shows.

Simple as it sounds – my initial idea was to separate all track outputs and have them normalized so the sound designer and FOH had complete control over creating the mixes. My thinking was that the sound designer should have complete control over the mixes because that is where the strongest mix link is. (Sound designers are at the top of their game, so they should have the ball.)

But what about the intention of the composer? You can have the best sound designer in the world (and in my current show we probably DO have that!), but composer intention will always supersede sound design.

This is one of those times I’m so excited to have been wrong – because I’ve learned something. So simple, but can be the make or break in the soul of a show.

If the soundtrack from the composer is separated into enough different tracks on the source software running live – then this can be tweaked during rehearsals to reflect a proper mix as dictated by the sound designer and FOH mixer.

What was the point I had missed in all of this? Over time (several years), the FOH mixer will naturally make adjustments. Over that long period of time you may drift too far from the initial composer mix. Your point of reference will be lost and you might not even notice the changes.

By having the outputs already mixed, you always have a “ground zero” point you can return to. (And the composer can come see the show three years later and still be happy with your work – now THAT’S important!).

Thanks to Eric for the detailed discussion on this.

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