A Monitor Mixing Primer A Q & A with Mike Rowland
LIVE SOUND
Mike Rowland is a live sound engineer who has worked with Marianas Trench , City & Colour , Big Wreck , Black Stone Cherry , and Theory of a Deadman , among others . He is a U . K . expat who is now based in Toronto .
Mike Rowland
A Monitor Mixing Primer A Q & A with Mike Rowland
CM : You started out mixing FOH before making the move to monitor world . What are some of the key differences between mixing for the house and mixing for the stage , and how does it change your overall approach ?
MR : The first difference as far as mixing is concerned is the gain structure . This varies again depending on the style of music – to stereotype the extremes , imagine a hip-hop or metal vocalist who cups the mic and really eats into it vs . a vocalist who sings into the microphone at an arms length . This is all also relative to personal mic techniques and the dynamics of the singer ’ s voice – knowing how to work with all the different possibilities comes with time and also keeps every gig fresh . The second biggest difference between the two is that you are subject to what the artist wants to hear . There is still a creative freedom ; however , the artist or band ’ s observations and treatments are the priority .
CM : How about your relationship with the artist you ’ re mixing . How do you ensure you ’ re communicating properly and that both parties are getting what they need from one another to do their jobs ?
MR : It takes time to learn how an artist or band communicates . Some make slight hand gestures , some shout over the top of their instrument , some will walk to monitor world and have a discussion , and others will say nothing at all and hope you hear what needs to be tweaked . Mixing monitors , you have to use a combination to ensure you ’ re delivering what the band needs and that it also still sounds good to everyone , yourself included .
CM : Similarly , what are some good attributes and personality traits that one can possess that will go a long way in finding success as a monitor engineer ?
MR : I personally think it takes a certain character to be in this industry , and to have a good relationship with any artist , you have to stay positive . I ’ m also personally very routined in my job and like to keep things the same on a daily basis . This small idea builds a trust with any artist or group . For example , if an artist walks on stage , he or she knows exactly where their in-ear monitors are and which song the crew is ready for . If that happens 30 shows in a row , everyone becomes accustomed to that process . Then , on show 31 , when the microphone stand is an inch too short , they will hopefully forgive me ( laughs ). That ’ s how I go about my job .
CM : Do you have a personal preference between mixing on wedges vs . in-ears ? What are some advantages and disadvantages that come with either , purely from your perspective as an engineer ?
MR : I love mixing in-ears . I recently went out on the City & Colour tour , which was the first time I ’ ve stood in front of wedges and sidefills in quite some time , and it was awesome , but the manipulation and musicality of an in-ear mix is much more satisfying to me .
CM : Are there any pieces of gear or plugins that you carry with you to any gig , regardless of the client ?
MR : I definitely have some go to pieces of gear and software that I always use . My Black Lion Audio Word Clock is a piece I always use . It ’ s very , very surprising how much better consoles , microphones , and other pieces of gear sound when they ’ re all running on the same clock . There are also some plug-ins that can really change a mix when applied . I swear by some including the Waves C6 multiband compressor , MaxxVolume volume leveler , and their API and SSL collections . I also love using the external Midas pre racks .
CM : Do you have any suggestions or tips for people looking to get into the world of monitor mixing ? How can they get started and begin building a network of contacts in the industry ?
MR : This industry is a tough one to navigate . It takes time to climb the ladder and it ’ s definitely one in which you have to pay your dues . I began the same as everyone else , wrapping cables , reading books , and taking any pieces of advice I could get . I also did gigs for little to no money , and over time , as your experience , confidence , and abilities grow , so does your rate , and you start to transition from mixing drinks to mixing bands full time ( laughs ). If you really want to be in the music industry , in any aspect , you ’ ll need the drive to get there . There will definitely be some long , tiring nights , as well as some very empty pockets initially , but if you stick it out , you will make it , and it all makes for some great stories in the end .
60 • CANADIAN MUSICIAN