diy mixing Archives - Aaron J. Trumm

Proper Stage Volume: Why (and How) You Might Want to Turn Your Amp Down on Stage

This article on proper stage volume was written originally for the blog at Carvin Amps and Audio. I repost it here, and encourage you to check out Carvin’s amazing line of products! Also – notification: I sometimes use affiliate links. Some purchases may earn me a commission! 🙂

It’s no secret house sound engineers fight with guitarists about proper stage volume for amps, especially in small venues. It may even be a bit of a cliché to mention it. “Turn it down!” often becomes “I’ll turn it down for you!” and “I need it louder!” turns into “I’ll just sneak over here and turn this up…”.

Whichever side you fall on, it turns out both sides have valid concerns, and everybody just wants to achieve the best sound possible. So, let’s look at how and why you might achieve a good balance with house sound, while still achieving the great tone you’re after (and maybe not having to take forever setting up!)

The Can’t Hear Myself War

Here’s the crux of the situation on a stage, especially where a loud rock band and a small venue are concerned: Everyone need to hear themselves (and each other), but no one can!

This actually usually starts with the drums, which are almost always too loud for a room. We’ll tackle how to start at the bottom with this problem in another article, but suffice it to say, if you can tame your kit, the sound engineer/guitar feud will be easier to manage.

Focusing on the guitars, the major problem the sound engineer faces is guitars tend to overwhelm vocals, keys, and other similar elements very quickly. Since the P.A. is the only amplification these elements have, if the guitar amps defeat that, there’s no way to hear anything else in the room.

But The Tone!

The best way to handle that from a purely house audio standpoint is to eliminate the guitar amps, and put the guitars directly into the P.A. This means everyone on stage can get what they need in their monitors, and the house mix can be controlled.

Unfortunately, that can all but ruin the tone many guitarists seek, and that can destroy a band’s signature sound.

To make matters harder, most guitarists achieve their tone by “opening up” the tubes in their amps – by turning them up to eleven. In this scenario, when the engineer asks you to turn your amp down, it means changing the tone.

But in almost every venue outside of a big stage, this volume level will fill the room, blast the audience’s ears, and make the mix impossible to achieve. Even amps that are completely absent from the P.A. mix can’t be overwhelmed in many cases, which means if you turn up to eleven, you’ve just defined your sound as “guitars only, with a guy lip syncing to nothing at the front of the stage”.

If that’s not enough on why you might want to consider lowering your stage volume, consider a few other factors:

Your ears – Hearing loss can occur after only 2 hours of exposure to 80-85 DBs. A typical guitar cabinet measures 115db one meter from the speaker.
The singer – Maybe vocals aren’t your concern, but if your singer can’t hear, they’ll scream. If they scream, they’ll lose their voice, and your next gig may be cancelled.
The audience – In a small venue, guitar amps can overwhelm and hurt audience’s ears quickly, which may cause them to disengage.
Your band – If the guitars are too loud, the bass will turn up. The drums will play louder. The keyboardist will crank the volume. Eventually everything will sound distorted and no one will know who’s who.

Achieving The Balance

So, what’s the solution? You may not want to hear this – but turn it down. Fortunately, there are a number of ways you can reduce your overall volume without ruining your tone.

Elevate Your Amp – If your number one problem is hearing yourself, start by elevating your amp closer to ear level, or pointing it toward you.
Use a smaller or lower power cabinet or a preamp pedal– In many smaller venues, you can opt for a smaller amp such as Carvin Audio’s V112E extension cabinet, or use a preamp pedal like Carvin’s VLD1 Legacy Drive – or this little badass:

Use a post-phase-inverter master volume (aka PPIMV) – An amp using this technology places the master volume after after the phase inverter, allowing you to keep a cranked-up tone while controlling output volume.
Use an attenuator – Patching a power attenuator between the amp and speaker cabinet can also help reduce volume while maintaining tone.
Use an amp shield or baffle – If you’re not having problems hearing yourself, you can use a shield to reduce overall stage volume while maintaining your tone.
Point it back (or to the side) – Known as “backwashing” or “sidewashing”, pointing your cabinet toward the back or side wall may work to reduce in-your-face volume and help tame the sound engineer’s mix.
Try a speaker simulator – Famously used by Rush’s Alex Lifeson, speaker simulators take input from an amplifier and feed it directly to the sound system.

It’s Possible

The encouraging thing is, it’s more than possible to achieve a best-of-both worlds, opened up, high quality guitar sound on stage, while still leaving room for the rest of the band and the sound engineer to help you put your best foot forward. For more discussion on proper stage volume, check out How To Improve Your Live Shows By Reducing Your Stage Volume, on this blog.

And let us know your best techniques for keeping the balance on stage!

If you have questions or want to talk, just hit me up on Facebook @AaronJTrumm – or email me aaron @ aarontrumm.com

How To Calibrate A Studio Subwoofer

This article on how to calibrate a studio subwoofer was written originally for the blog at Carvin Amps and Audio. I repost it here, and encourage you to check out Carvin’s amazing line of products!

If your studio is lacking the low-end punch you need to hear what you’re doing with the bass frequencies, you might want to add a subwoofer to your setup. You may have even picked up something like Carvin Audio’s TRX3118A active subwoofer, but what you may not have thought about is how to set the level of your new sub.

As it turns out, it matters a good bit how you do this or what you hear (and what you do to your mixes) could be skewed from the rest of the world. This could make your mixes worse rather than better.

Luckily, it’s relatively simple to calibrate a studio subwoofer properly. Let’s get to it!

Pre-Requisites

SPL Meter – It doesn’t take a lot to get a good calibration, but you will need an SPL meter, either standalone or an app on your phone.
Proper placement – We’re assuming you have placed your monitors properly, and that your mix position forms an equilateral triangle with your monitors. Your subwoofer’s position is more flexible, but it shouldn’t be in a corner, and it probably sits somewhere under the desk. Make sure you’ve settled on its position before you start.
Zero out the board – If you’re using a mixer, make sure everything is zeroed out and there’s no funny eq or effects doing anything to the main signal.
Tone generator – You can use a software tone generator, hardware generator, or a plugin in your DAW. Just make sure it can generate full-bandwidth pink noise.

1 – Make the connection

The first step is to connect your subwoofer. This may be obvious, but there are several options for how. Some subwoofers have an input and an output, so you can connect your monitors to the subwoofer, and the subwoofer to the audio output of your interface or mix console.

This may not be your preference, or you may not have this option, in which case you might send main outputs to your monitors and an aux output or other send to the subwoofer.

Decide this first and make your connections, using appropriate audio cables.

2 – Calibrate the monitors

Lo and behold, we’ll actually need to talk about calibrating your monitors too, because after all, we’re trying to get the right relationship between the monitors and the sub.

There are various calibration methods, and all are acceptable, but here we’ll use a standard 85dB at mix position when the output source is at 0dB. When we say output source, that could be your mixing console, or it could be your audio interface, if you’re sending those outputs directly to your monitors. At the software level, you’ll be setting your test tone (pink noise in this case) at unity as well.

To do this, we’ll actually calibrate each monitor separately, shooting for 82dB.

Step 1 – Turn down monitor inputs all the way (on the back of the speakers themselves). Turn output source down all the way.
Step 2 – Start playing full bandwidth (20Hz to 20kHz) pink noise.
Step 3 – Turn up output source to unity (marked as “0” or “U” usually – on an interface unity is often all the way up on the output level dial).
Step 4 – Hold your SPL meter at the place where your head would be during a mix session and slowly turn up the left speaker input (on the speaker itself) until the meter reads 82dB.
Step 5 – Turn OFF (leave input level intact) the left speaker and turn up the right speaker’s input level until the meter is at 82dB.
Step 6 – Turn both speakers on. With both speakers now playing pink noise, your meter should read 85db at the mix position.

3 – NOW calibrate the subwoofer

Now you’re ready to calibrate your subwoofer.

Step 1 – Turn off the monitors (don’t mess with the input level!)
Step 2 – Turn down your subwoofer’s input (on the unit itself) all the way.
Step 3 – Play full bandwidth pink noise again (at unity in your software).
Step 4 – Turn up the output source to unity again – remember this might be a separate aux output or send.
Step 5 – Fade up the subwoofer’s input level until the SPL meter reads 79dB at the mix position.
Step 6 – Turn your monitors back on and play some music with plenty of bass. Switch the polarity on your subwoofer and listen for an increase or decrease in bass response. Leave the polarity switch in the position that gives you the loudest bass.

4 – Almost done – don’t forget the crossover

Monitor speakers vary in their frequency response, and some may faithfully reproduce audio down to 60Hz or lower. At the same time, your subwoofer may produce only up to 80Hz or its range could extend to as high as 200Hz. First find out the specs of your monitors and your subwoofer.

Next, your monitors may have a high pass filter with one or more options for cutting off their response below a certain frequency. Your subwoofer may have a lowpass filter setting. You may have to experience with where you let the two cross over to get the best sound.

The best place to start is to set your monitors to cut off right about where your subwoofer cuts off. For example, set the subwoofer’s lowpass frequency to 80Hz and set the monitor’s high pass to 80Hz. If you have a truly variable cutoff (aka a fader or dial rather than a switch) then you have fine control to tweak the crossover. If not, you can experiment with different switch settings.

The key thing to listen for is cancellation or undue boosting. If you find a setting that makes everything sound worse, don’t use it!

Last thing

That’s it – now you should be properly calibrated, and the only thing left to do is listen to a lot of music and get used to the sound of your new system. The last thing we’ll mention is if you find that 85dB is just too loud for your room, you can set your monitors up for 79dB instead, and decrease the subwoofer’s level to 76dB.

Other than that, enjoy your new room!

If you have questions or want to talk, just hit me up on Facebook @AaronJTrumm – or email me aaron @ aarontrumm.com

OH! On a related note – if you’re interested in room correction, check out this video on how I do it!

Mixing In Headphones – Is It Possible?

December 27, 2022 by Aaron

Audio Instruction, Carvin Amps and Audio, Instructional Stuff, Published Work

aaron trumm, can you mix with headphones, carvin, carvin amps and audio, diy mixing, home recording, home studio, home studio mixing, mixing, mixing in headphones, music, music tips, stage

This article on mixing in headphones was written originally for the blog at Carvin Amps and Audio. I repost it here, and encourage you to check out Carvin’s amazing line of products! Also you could find affiliate links here, and I may make a commission if you buy from those links 🙂

The days of every record being made in a commercial studio are long gone. In fact, some producers weren’t even born in those days. Now, productions are made everywhere from multi-million dollar studios to bedrooms to airplanes. With so many people making recordings on laptops and without high dollar monitors or proper acoustic treatment, it makes sense that more and more mixing is being done on headphones.

Twenty years ago, though, suggesting headphones as a viable alternative to a traditional monitoring environment would have been blasphemy. So, is it still improper? Or can you expect to get a great mix in the cans?

Lost In Translation

The main goal in the mix stage of a production is to make a mix that sounds great (whatever that means for you and the song) across different platforms. Granted, a song is not going to sound the same on an iPhone as it does in Wembley Stadium, but it should still sound “right”. In theory, it doesn’t matter how you get there. In fact, the most tried and true way of achieving great translation is to check mixes on various listening systems – including headphones.

What’s The Difference, Anyway?

In years past, it was considered a no-no to mix in headphones because of a few key differences in the way headphones and speakers deliver sound to your ears.

Crosstalk

The main difference here is something called “acoustic crosstalk”. Said simply, when you listen to a mix on a set of monitors, both ears hear both speakers. Because there’s a difference in timing between when sound from one speaker arrives at one ear versus the other, your brain can locate elements in the stereo image simply based on a volume difference between the left and right channels. This doesn’t happen in headphones, as each ear only hears its own channel.

So, one of the key problems with mixing in headphones is stereo imaging, which can sound very different on the different mediums. There are a few ways technology attempts to make up for this, like HRTF (head related transfer function) processing and binaural recording, to name a couple, but nothing to date quite measures up to a real live set of speakers.

Of course, this stereo “illusion” created by acoustic crosstalk is affected by reflections off nearby surfaces such as walls, ceilings, and even the desk. This is why most mixing rooms try to create a reflection free zone (RFZ) around the monitors and mix position.

If treating a room properly isn’t an option, creating a stereo image can prove even more difficult, and headphones may actually be the better option.

Minute Detail

Here’s a fact not often admitted by purists: we’ve always used headphones in the mix process (just not exclusively). The reason for that is you can certainly hear minute details in the mix better in a set of cans. The two best examples of this are edit points and reverbs.

Edit transitions quite often sound perfect in the room monitors and glaringly obvious in headphones. It’s always a good idea to check and get edits tight using headphones. Reverb levels, meanwhile, can be much easier to dial in using headphones. A common technique for subtle reverb sends on vocals that you want to sound natural is to put on the headphones, and dial back the reverb level until you can’t hear its there unless you turn it off. In the cans, turning the reverb off will be obvious, and now you’ve found your sweet spot.

Yes, It’s Possible

Without putting too fine a point on it, yes it is possible to achieve a great mix using headphones, even if headphones is all you have. You may need to adjust your technique a little, but it’s doable. A few things you may want to keep in mind for best success:

Use headphones that are designed for monitoring and have a flat response – preferably open backed.
Familiarize yourself with the sound of your headphones by listening to reference tracks.
Check mixes elsewhere – your car, your phone, earbuds, a friend’s studio, a boom box.
Mix at low volumes. This is true for traditional monitoring as well.
Try a frequency compensation plugin like SonarWorks Reference 4 or IK Multimedia ARC – just be sure to apply the plugins to your reference tracks as well.
Try acoustic simulation software such as Slate VSX or Waves NX – or a crossfeed plugin like Crossfeed EQ.

Just as in traditional mix monitoring, the main factor to consider is you. Practice, practice, practice and don’t give up until it’s great!

If you have questions or want to talk, just hit me up on Facebook @AaronJTrumm – or email me aaron @ aarontrumm.com

diy-mixing

Proper Stage Volume: Why (and How) You Might Want to Turn Your Amp Down on Stage

The Can’t Hear Myself War

But The Tone!

Achieving The Balance

It’s Possible

How To Calibrate A Studio Subwoofer

Pre-Requisites

1 – Make the connection

2 – Calibrate the monitors

3 – NOW calibrate the subwoofer

4 – Almost done – don’t forget the crossover

Last thing

Mixing In Headphones – Is It Possible?

Lost In Translation

What’s The Difference, Anyway?

Crosstalk

Minute Detail

Yes, It’s Possible