I have been focusing and training to become a DX/MX mixer of a two man team and have recently been given the opportunity to audition for an FX chair. I want to go for it because I feel to be a great DX/MX mixer I need to watch and observe one closely and regularly. The best way to do this would be to work with one as a partner. But, as my focus has been watching the DX/MX guy, I want to make sure I would do a good job and be a honorable, hardworking, productive partner on stage. I want to be an invaluable asset to the team in the role I would currently be occupying. I have been mixing FX throughout my career as I have been a 1 man post mixer for 13 years. But, I don't want to miss any expectations on stage. So, any advice on being a FX mixer? Any, panning conventions, reverb dos and don't....I know I will no longer be "Mistress of the playback button." :)
Well, If you have an aesthetic understanding (cause FX can make a thing sound from classy to sh** but they can work the other way around too..) The only thing i would focus on is configuring delay times on specific grooves (doubles , triplets etc) some haas delays to expand and enlarge the stereo image and stuff like these.
Also try to have some go-to signature FX to make the job easier for the engineer, this way you'll become invaluable , if things have come to a weird spot in the mix and you can give a solution through the FX , for example a lot of times i've had trouble making some voices bigger and bigger (cause that never ends) and when i really thought i can't make it bigger (through dynamics and all those other tricks) a short delay with 3-4 repeats comes into play and makes it massive!
So if you manage to take some weight off of the engineers back by giving solutions that apply aesthetically and are also good in technical terms you are an invaluable part of the studio!
Lastly , i would go no where without a Dynacord SRS 56 delay , and a good Roland RE-501 Delay. i hope you bring some signature fx and uses to the table too. It's nice for any engineer to see something new in his patchbay, this doesn't mean he would give it a chance immediately, but that's where you come into play. Also try to have some intresting effects ready! If a producer approaches the studio with an idea (like let's say foster the people - pumped up kids) and he wants all those weirdo effects , that's the moment you have 2 guys staring at you , waiting for answers. If you have some kind of palette that can meet the clients needs (cause most of the time clients talk FX (airy, watery , reverby etc, they don't talk compression) then you are an invaluable part of the studio and the studio business.
Every knob-turner is like an instrument player, you have to do the right moves at the right time and generaly be good at it.