When you drive a car, do you fixate mainly on the speedometer? Or do you devote most of your attention to watching your surroundings through the windshield?

Recording live dialogue on a set is a similar activity. You are at the helm of sophisticated recording and mixing equipment, but your focus needs to be on what is physically in front of you – namely, the actors and their relationship to each other and to your microphones.

Let me begin by asking, “Do you consider yourself a RECORDIST or a SOUND MIXER?”

The difference is akin to being a LINE COOK versus a CHEF DE CUISINE.

A recordist is in charge of recording sound tracks. Bringing a sound into a recorder, setting a proper level, and letting ‘er rip. In the case of multiple Audio sources, the recordist sets a level and individually records each audio feed. Every track is recorded individually for optimum quality. There is no concern for comparing relative levels, nor dealing with phasing/overlaps, perspective, and interactions. Get it; set it; forget it.

The goal of mixing to multi-track is to be able to record a live production mix along with iso tracks of each major microphone input, so that the audio post production sound editors have the option of using the un-mixed raw mic feeds to reconstruct the soundtrack if the production mix is flawed. However, not all mixing panels can provide the correct direct outs.

The factory owner's and operation manual for the 1402-VLZ Pro Mackie board, divided into easy to follow chapters with colored diagrams that explain everything you need to know about this versatile mixing board. It is an excellent text for learning the basics of using a professional mixing panel, and its content is applicable to the majority of manufacturers & models used by our industry.

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