THE MUSICIANS’ CUE MIX
It is not possible for artists to perform well if they cannot hear themselves appropriately and although this may seem obvious, some engineers do not appear to understand the importance of the cue mix. The musicians’ monitoring experience while recording can affect every aspect of their performance and in controlled environments, e.g. in a studio, it should be possible (and advisable) for engineers to create monitoring mixes that are more than just suitable. When artists are provided with outstanding cue mixes, they are encouraged to perform at a high level and not uncommonly if what they hear has a ‘record-like’ quality they will seem more capable of delivering ‘record-like’ material.
Performance monitoring set-ups can vary greatly, as some artists refuse to record wearing headphones while others are happy to create their own inear cue mixes. Regardless of method, engineers should always check and optimise the monitoring conditions during sessions.
The playing of pre-recorded music may help engineers set up headphone or ‘cue’ mixes, as some musicians are happy to play along other artists’ music while they select the tone for their instruments and amplifiers (although it is imperative to stop playback immediately if anyone chooses to work on their own part from the very start). The production team should be ready to start recording to the multitrack device as soon as the performers commit to the cue mix verbally (and ideally the team will have started recording to a two-track machine from the very beginning of the session).
Communication / Talkback
The establishing of communication between live and control rooms is of great priority and ideally the talkback system should be set up and checked prior to the beginning of sessions. There should be a constant dialogue between engineers and artists, as otherwise a sense of isolation may affect performance.
Singer Cue Mixes
The following are a few observations that may help recordists with their singers’ monitoring set up:
• Do not be reluctant to add reverberation to the headphone mix, as this may help singers stay in tune (as they are able to listen to the ‘tail’ of notes).
• Be attentive to cue mix levels, as performers may sing ‘flat’ if bass content is monitored at very high volume through headphones (humans perceive low-frequency content at a lower pitch when auditioning at high amplitudes).
• Place singers in the control room and get them to perform with the monitors at live performance-like levels. This may help them sing more energetically and with intention (ensure to use directional dynamic microphones placed with their null points directed towards the speakers). Pay close attention to pitch.
Headphone ‘Leakage’
When performers set their cue mixes at very high levels, the output of headphones may be picked up by microphones during tracking. This is referred to as headphone ‘leakage’ or ‘bleed’ and it commonly affects the recording of singers and acoustic instrumentalists. The following may help minimise this problem:
• Use single-sided headphones whenever musicians express the desire to keep one ear free to listen to the acoustic sound in the live room.
• Disconnect unused headphones, i.e. mute the headphones of musicians that are not playing on an overdub and are leaving the live room.
• Use closed back headphones.
• Use EQ to minimise the audibility of unwanted signals such as a click-track (or use a ‘darker’ sounding click).
The Use of Groups for the Creation of Cue Mixes
The use of group busses can help engineers create easily modifiable cue mixes, as less modules or controls may be required for the alteration of levels, e.g. by using a stereo drum group, engineers may raise the level of all kit components in the cue mix simultaneously by using two auxiliary send controls (as opposed to having to modify multiple individual component levels to the cue mix auxiliary busses).