Our roles as both audio engineer and artist are inextricably linked. Both can exist independently, but neither will ultimately flourish without the help and insights from each --- and we sometimes place too much faith in one over the other. The art of audio engineering is exactly that: art. It's a way to connect humans together on a completely new and different dimension or scale.
It's natural to become caught up in the technical details --- the buttons, knobs and menus --- involved in sound engineering. By taking a holistic approach, though, can transform our view of what we do and why we do it, unlocking a fresh way to work and impacting others through our craft. But this requires the merging of two distinct mindsets.
The Two Mindsets
Our early foray into the role of audio engineer usually hinges on our technical skills. Equipment setup, signal flow, gain structure, and the continually growing knowledge of attaining desired outcomes. Sometimes this happens in an educational institution yet often occurs being thrown into real-world scenarios. Learning on the fly, as they say. And when you think about it, it's hard not to get lured into a strictly technical-based way of operation. It is, after all, the core foundation on which the role is built. But is there more than this single mindset?
Pablo Picasso, one of the great masters of painting, is credited with starting the Cubism form of art. This style is based on taking everyday objects and people, breaking them up, and presenting them again in abstract form–a form that was intended to lead the viewer to see it from multiple vantage points. While many of Picasso's now famous abstract paintings take the spotlight, archives of his early work are filled to the brim with pencil drawings–most notability sketches of portraits, evolution of form, and still-life objects. Picasso didn't merely stray from the path, he had a strong foundation of principles that enabled this pathway from technician to true artist.
Just as the musicians on stage rehearse various songs each week, shouldn’t we be doing the same?
As we toss around the word artist and what this second mindset entails, it would seem advantageous to take a broader view. If we think of an artist as someone who draws, paints, or sculpts something, then we should also think of the lasting outcome. In many cases, a work of art, once completed, is then put out into the world. An individual or collection of viewers will all see this unique gift, perceive it differently, and in turn gather various emotions from that experience. Art can be anything that is personal, a creative act, and something that resonates with a viewer or listener. With this view, then yes, an audio engineer should consider him/herself an artist.
The Way of the Artist
Picasso, as noted earlier, challenged art by inviting the viewer to see life through a different lens. By taking the familiar and adding depth, rearrangement, and surprise, he created a multitude of layers–many of which combine in various forms depending on sightline and perception. As an audio engineer, we can choose to do the same.
It's not enough to simply have great signal flow. It's not enough to use top-notch gear and turn things up to an appropriate volume level. If we desire to truly be an artist of our craft then we need to think about molding, shaping, and reframing the entire experience to the listener. While the conversation runs deep in how this can be accomplished, starting simple, with principles in mind, will allow for endless amounts of creativity and possibility.
One place to start is in the use of dynamics. Not just individually but in the entire scope of a morning worship service or concert. Many of the best engineers work their artistry by fluctuating the overall decibel level during the course of an event. Some accomplish this by slowly increase volume gradually, as ear fatigue will set in, others through shifting dynamically from song to song, especially highlighting those with impactful energy versus a ballad. Even a few decibels of reduction during an intimate piece will draw the listener in, forcing them to listen a bit more closely, paying attention in a way that can be intensely moving. Small changes, big results.
Revealing the various layers of a mix and presenting them in fresh ways can have lasting results as well. Many of us will turn instruments up or down for a solo, but how about taking the term “mixing” to a new level? This comes by having a deep understanding of the source material. Just as the musicians on stage rehearse various songs each week, shouldn't we be doing the same? No song is static. Various sounds, textures, and effects are constantly in motion, which creates the interest and vitality of any mix, both live or recorded. Does the acoustic guitar need to shine a bit during the intro, bridge, and outro? Would a touch of reverb on the piano during a downtempo piece give it a stronger sense of depth and weightlessness? How about adding a doubler or light chorus effect to the background vocalists during the chorus to expand the richness of that section? Here's a secret to fostering this sense: listen to a lot of music. A lot. Write down what you hear. Listen multiple times and document these layers. You'll be surprised what you learn.
It Takes Two
Hydrogen and oxygen atoms can exist independently, but it takes both to form a water molecule.
This notion of engineer and artist is undoubtedly complicated. Although both mindsets can independently exist, I'd challenge to you consider fostering the two side by side. Each have their merits, but the joint effort of both will no doubt bring your live mix to a new level and provide endless room for creativity in the future.
