ABSTRACT
Mixing sound and music for the stage is similar to mixing for records in that you strive for the best balance of sounds and processing (equalization, reverb, delay, and so on). There are, however, some major differences to bear in mind. Always listen to your cues in the studio at the same volume that the audience will hear them in the theatre. Put your mix together at a normal listening volume, but check your fi nal mix at a volume that resembles what you think you will be hearing in the house. What at fi rst may sound like enough reverberation at a moderate listening level may disappear when played back at a soft level. Just as some people use the loudness control on their home stereos to boost bass and treble frequencies at low volumes, you might want to adjust the equalization. On the other hand, the louder a recording is played, the more the imperfections can be heard. A slight thump in an edit may be imperceptible at soft listening levels, but could become apparent at a louder volume. Listen for imperfections in a recording (like noise or the fadeout at the end of a cue) at a slightly louder volume than you expect to hear it in the theatre — that way, you’ll know that it will sound unblemished at most volumes. If you’re unsure of how to mix a cue, give yourself some leeway by making one or two alternative mixes to try in technical rehearsals. As you become familiar with a particular theatre, experience will tell you how your cues will sound in that house.
