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What great timing that I found this video.. My worship pastor and I were just discussing this topic last week. He was asking if I remembered how our "Live" matrix for our weekly broadcast worked. After watching the video, Now I remember!! I can share with him. Thanks for posting this!!!

Fab :)

Matrix on a centre fill almost always. 🙂

great video & information, thank you for putting your time and effort into this!

Very interesting thanks very much

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As always great stuff ❤❤

Great stuff🎉

I made the jump to being dependant on FOH a few years ago. I can't stress enough: GOOD PEOPLE (imagine infinite exlamation marks) Really loved this take. I spent a lot of time (a lot of which, admittedly, in which I still had to grow myself) scratching at the edge of professionalism simply because I was not working in an environment where people aimed for professional standards.

I was wondering for a long time 'how audio engineers adjust levels for monitors when there is a main mix'. Thank you for explaining it. This is the best channel to learn live sound audio

Why can't that file not downloading

this has been so far the simplest and most useful video on power use in events, thank you!

what if you are in a very narrow room?

I'm a little lost on how to apply the measurement curve. I work on an M32, so my "theory" is that essentially I would get measurements via OSM, then just make those EQ cuts on my main L/R bus? Or am I now running all of my inputs via the interface I'm using for OSM?

‘Get up enough from noisefloor and get down enough from clipping’ after theres the sweetspot 🎉

Question. If you dont put the fader on zero when setting the gain, where do you set the fader?

Thanks for the video. A lot of guys around here suggest keeping the speaker volume at unity, but you had suggested to put your speakers to max volume, is that correct?

How would you set gain on a Mackie profx12v3

Maybe dumb question? Do you need a computer running the Dante controller software when using anything Dante Or is the computer just to set it up and then you can throw the computer in the river and you're Network will just keep working? And you can start in stop all you want and unplug and re-plug it's just configured the way it is until you open up another computer with Dante controller and reroute something?

Hi Andrew, thanks for the great content. How about a video on stereo vs mono FOH and panning I’m thinking a rock band would be a good example maybe drums, 2 guitars and keys?

2:13 I would somewhat disagree with this take. Whereas typically larger system gear like PA, console, amps etc. almost exclusively are audibly unusable with unknown/cheaper brands, I've found that with smaller utility stuff like mics, DIs, cables and various signal processing, it's not about always about the audible quality but the reliability/longevity.

Happy to this video and where having the same thoughts. Thank you 🙏🏻

Usually I’ve found the conditions and treatment improve with pay. There are some exceptions where this is inverse. I work at a $30B art museum where I get $22/hr and work on QL1s but the staff is great and I’m treated well. I’ve also worked at a place where I’ve gotten $50/hr to work on a horrible presonus with horrible mics, stands, cables and no monitors.

Another option for the acoustic guitarist who turns up with a guitar without a pickup could be to use something like a Seymour Duncan Woody pickup that mounts easily in the sound hole of the guitar.

Great vid! Is there any drawback when using the builtin (software?) loopback instead of a separate cable doing the loopback e.g. from output 2 to input 2? Or in other words, is there any benefit when using a physical cable connection instead of the software loopback? I would assume much lower latency?

Can you do a short video on eq for the subs. I see what you said but I’m still not there

Your Video is great! I would highly appreciate something like driver alignement in a single speaker or just speaker time alignement in general and phase alignement from (lets say) subwoofers to top / kicks. Thumbs up!

A very old school sub technique I find quick to use: Play a tone, for example 80 Hz, out of your tops and subs. Flip one PA element out of phase, then add delay until it gets quietest, then flip it back in phase.

i always keep spare rolls of gaffa tape with me as done gigs where there was no gaffa tape at the venue , saying about PA i just did a gig recently where the venue had for foh speakers a pair of old 12 inch 240 watt TOA speakers no subs , a 32 channel soundcraft LX7 ,and a mix of behringer ,soundlab and EV mics and i had to mix a bon jovi tribute band with this system and i must admit it was incredibly stressful

You cannot argue with any of the points raised here. This is the formula for help[ing any engineer to deliver their best. I do think though that we have to stand back for a minute when we are talking about conditions and what is unacceptable. I have in the last few years become more involved with some bar operations and got to know bar staff and seeing what they are required to do during work. This is something to consider when we are talking about our plight of having to un tangle a badly rolled up cable or use a Behiringer copy of a 58. Ive never had to scrub stale alcohol off a floor of clean up vomit so in that context being forced to use an X32 once in a while isn't really that bad.

Hello everyone . please i need help " output configuration for M32R Live with DL16 " I'm currently working with the M32R Live mixer and the DL16 stage box, and I need help configuring the outputs. I'd like to use the user outputs on the mixer, specifically for buses 1-8 bus fader. I aim to set up bus fader 1 to output from the local mixer (out 1), bus fader 2 to output from the DL16 (out 1), bus fader 3 to output from DL16 out 2, and bus fader 4 from DL16 out 3 and so on. similar to how I configure the inputs. For the inputs, I can set input fader 1 to source from the local mixer and input fader 2 from the first input of the DL16 from user input I know how to do it , but setting for out it is confusing and also I want to make out 7 in dl16 as master out left and out 8 in dl16 as master out right and to keep also out from local 7,8 as master because I want to have other PA system from DL16 Could you please provide guidance on how to achieve this configuration for the outputs?

Hello everyone . please i need help " output configuration for M32R Live with DL16 " I'm currently working with the M32R Live mixer and the DL16 stage box, and I need help configuring the outputs. I'd like to use the user outputs on the mixer, specifically for buses 1-8 bus fader. I aim to set up bus fader 1 to output from the local mixer (out 1), bus fader 2 to output from the DL16 (out 1), bus fader 3 to output from DL16 out 2, and bus fader 4 from DL16 out 3 and so on. similar to how I configure the inputs. For the inputs, I can set input fader 1 to source from the local mixer and input fader 2 from the first input of the DL16 from user input I know how to do it , but setting for out it is confusing and also I want to make out 7 in dl16 as master out left and out 8 in dl16 as master out right and to keep also out from local 7,8 as master because I want to have other PA system from DL16 Could you please provide guidance on how to achieve this configuration for the outputs?

Absolutely true… this kind of things can ruin your reputation as a sound engineer

Other red flags I have come across: Late get ins - if soundchecks aren’t due to start until 5pm, get out. Places like this usually pay terribly and it’ll be a four band bill with doors at 7pm. This leaves no room for troubleshooting or time for food before the first band. For small venues, I’ll always ask for a 2pm get in and a 3pm soundcheck. House backline - There is no situation imo where the sound engineer should be involved in setting up or packing up a drum kit. If venue management want there to be house kit, that is their responsibility.

Can use x32 with out useing speaker build in

Good info man!

lol. i guess going by this, it really makes sense why i dropped out of the profession pretty much right after my apprenticeships, even then pretty much none of these conditions where ever present, haha (sorry, great video, i guess i'm just being frustrated about it yet again)

This was so good. I watched this video specifically to learn how to apply delay to a stereo pair of Matrix outputs on a Yamaha TF5 console at my kid's high school, and I ended up learning a concept about Matrix outputs that I am excited to go implement! THANK YOU!

Nice one, Lewis. Here's a thing I started doing recently. One thing I really like to do with the kick gate is to make use of the key filters so they trigger more of the mid range of the kick drum. You can get away with much lower gate thresholds, so you don't lose quieter notes, while also really tightening up any mess in the low end. Really handy if you're in a resonant room with boomy low end where every bit of transient clarity in the low end matters.

Beginner here. I don’t understand the difference between this setup and the LR mono sub setup that it seems your board is already configured to. Why wouldn’t you just have LR mono sub? Does it not function in the exact same way?

I’ve worked at a couple venues in Dubai recently where these kinds of bad practices are really prevalent. Communication and finances are especially poor

I feel relieved, my partner and I realised just how f’ing organised we are!

I have retired! 40+ years is enough!

I have a few tips for new FOH/Monitor engineers. 1. Grab your self a couple rolls of GOOD gaffe tape, couple different colours of spike tape. 2. Have an assortment of adaptors. XLR M and F to 1/4", RCA to 1/4" or XLR (with the correct pins jumped), I would also have F to F NL4 couplers, maybe even NL8. I also travelled with a bunch of patch cables. 4. Cable tester, you can get great testers that will test anything to anything. I've had the same one for almost 20 years. 5. Learn to solder and now adays terminate Cat5/6. 6. Smaart, OpenSoundMeter or any other software/hardware are great tools but don't blindly follow them, use your ears. 7. Protect your hearing, get custom moulded ear plugs. The ones I use have replaceable filters -9, -15 or completely closed for -35dB.

Eres un privilegiado. Un enfoque bueno sería, por ejemplo, como sacar ventajas laborales u oportunidades de crecimiento diseñando metodologías, dinámicas de trabajo y sistemas de sonido en Venues poco aptas. Pero no, tu perspectiva es poco realista y demuestra que has trabajado poco en tu vida. Gracias por tu trabajo en redes. ;)

Any place using a Behringer Wing console for starters.

OMG This is just what I needed. Subscribed!!!!!

Thank you so much for this video. I was assigned to handle an X32 recently and being familiar with analog mixers I was kinda lost. Your explanation of the mixer routing is just brilliant...

This is basically Nashville.

Sounds like the first sound company I worked for. Damn, literally all the points you made!