Just ordered one. I have no idea how to use a digital mixer and I was stressing a bit but after watching this video I can’t wait to get my hands on it, great video.
I have the same mixer and it was my first digital mixer and let me tell you it is wayyyyy easier to run hooked up to a laptop lol but once you play around you figure things out pretty easy
Thank you..I went from a 18I20 Focusrite to a used 16.0.2 and I like both..the presonas is really sweet..I learned somethings watching this! It's like growing up in a baby boomer family with 7 kids and your number 6..trying to keep them happy yet remaining calm lol.:)
That's where you use your gains on the channel strip to lower the gain on the channel - and mix in the unity gain area. A fader is a cut - not a boost - and you always start at zero or unity gain on the fader and use the channel strip gain to balance the stage volume with FOH sound.
Hey there, thanks for the video. Sitting at home (Covideoing), haven’t been on a gig since New Year’s. Love how you keep the vocals in the slot. Comp and eq very nice. I don’t usually get to fine tune like that as I’m playing keys and singing on most gigs but so nice to just do sound when I get the chance. BTW, nice job working with what you’ve got. I love how you left the gains where they were to avoid messing the aux. mixes. So you had to leave the faders low on a few things, oh well. Good enough is good enough. Shame about the compression/distortion on the video sound. Damn hard to get camera audio to work in a live band situation. I guess a zoom camera would work better but thats another piece of gear to buy. I downloaded Filmic for my iphone and that made a huge difference. I turned off the compression and used manual gain. Whew, even with the crappy onboard mic I got some reasonable results without bringing any other gear. Nice for short clips on short notice. I recently bought the smallest zoom recorder and I’ll probably make a little video rig with the zoom sending analog audio to my old camcorder with cam gain way down to avoid compression. I’ll even have a backup recording on the zoom if I catch a really good show. Another rig to set up true, but if I’ve got time, why not. Thanks again for the vid.
Thanks for the video, how do you connect two different instruments in mono of a channel. Example 11/12, do you have to use a mono jack to female or male xlr for this connection or … ? Grateful for your response
Thank you for your comment. I'm not sure I understand your question. Are you asking about connecting two instruments into one input (an input that is marked as 11/12)? Can you please elaborate a little more... thanks!
Thank you for the information. Inputs that are referenced with two numbers (i.e. 11/12) are usually for stereo devices. For example, direct-out stereo devices like keyboards, and certain guitar effects/cabinets. Also, those types of channels are used when returning effects to a console from outboard gear. Faders with two numbers are not meant for two separate inputs. Due to the stereo inputs being 1/4" and not XLR, usually will indicate the use of a different impedance level than what is available on an XLR input. Using 1/4" inputs as regular inputs could result in a lot of system noise due to an impedance mis-match between the device and the console.
Hmmm, at 25:40 i like that song can you tell me the title :-) Thanx for the nice vlogs / Learned a lot of them 'm managing sound at a local theater where some bands play's every sunday ;-)
Have you seen the Stage Left Audio video's of the Scandinavian Christmas events? Hard walls, hard floor, and a parabolic dish for a ceiling. I've mixed in some challenging rooms myself, but never something like that.
@@johnmcquay82 I’ll check that video out! I have not seen it. I am persuaded that all rooms are equally challenging in their own ways! That type of room you are describing is a lot of fun because it’s challenging! A super tough one is the steal barn!
Have not used it with a generator. If you plan on using any digital board with a generator, you may want to look at using both a voltage regulator and UPS for front-of-house. Digital boards are nothing but computers, and can act 'strange" under minor power issues. It's best to have clean and stable FOH power when running digital.
Hi, I just placed an order. I use Presonus Studio one 5. Can I record my band on separate tracks into studio one 5 or do I still have to use capture? I’m getting this board because my Harbinger LV2404 can’t record into my DAW on separate tracks. I’m hoping this board will make a world Is difference for me and band to do live streaming through my DAW. Please let me know if I made a Perry good choice. Thank you for your video here.
Thank you for your comment. The band I am working with (in this video) used their Presonus 16.0.2 to record most of their shows. I do not do much of any recording, but you will need to use Capture if you are using the 16.0.2 console. We only provide live sound services and support, so we can't comment on what board is better for recording than others... we have no idea what boards are good for recording.
All shows we do are mono, on both digital and analog gear. On the analog board, we do use Pan when setting up sub-groups, but we do not use Pan on FOH. We do not Pan anything on a digital board.
Hey thanks for the video, really helped me out! I have had some problems on gigs with humming DI outputs on some guitar amps, if tweaking the gain structure doesn't help, would setting a gate on that channel be a valuable option? Apologies for my English, it's not my native language. :)
Humming with DI outputs may indicate a gain staging issue or a problem with a cable (non-balanced cable). Try lowering the gain first. If this doesn't work, there could be a ground-loop in the system. Using a gate on "humming" equipment will not correct the issue. Humming on some guitars may indicate an issue with the guitar (pickups), or may just indicate the guitar is over-driving the input of the DI. There's several areas to check. You may need to narrow it down.
We do not do any recording. However, I understand that 48K would be a minimum; 96K (24bit) seems to be what most people use. Though, the higher the frequency, the potential for a lot of high frequency (pitch) noise. Try 96K; if it's too noisy, use 48K.
Few things, just because I cant help myself.... First of all, great video! Next, I picked up a new item that I use all the time. I see you use tape on the console. Staples (the store) now carries white "Post it notes" but they come in a roll. It is white, and looks like that scotch tape, but you can read things written on it much better, and it comes off clean with little effort. I love the stuff. Next, a local band has gotten away with giving me half of my usual fee to run sound for them on account of not having to bring all of my own gear. Just like this gig you made the video for. I am not doing any more since it is harder for me to figure out the house system, and then run sound all night too. Any suggestions on how I might explain that I still have to work all night and deserve the full share? I have one idea, which is this... "imagine the bass player leaving his amp home and plugging in DI, into the console. He still plays all night, but got to leave his big amp home. Does he still get full share, or just half?". Any insight would be helpful. These guys are missing the point. I'd rather use my own gear!
Sounds like Post-it notes is getting into the board-tape business!? The band used masking tape on their board; it is a lot cheaper than many of the board-tapes available, though if Post-it has a good alternative, this may be a better solution. I understand your frustrations! Was there many, many years ago. You bring up a good point about fees and the analogy with the bass player. Many times, bands are not paid much to perform, especially bands that only gig part-time (which is a vast majority of the working bands.) The band members want to make money just as much as anyone else working with the band; and the more band members there are in the band, usually equates to less income for each. In the industry as a whole, it is expected to be compensated for the amount of work conducted. Sounds like the band you are working with needs your expertise more than they need your equipment. Trying to sell yourself with using your own system can be a very hard sell!! Look at the band's situation from a cost perspective. Sounds like they are trying to control their costs and are probably ensuring a somewhat equal-pay distribution; i.e. they want to keep you on as their engineer as long as they can continue to afford you. As a stretch.... you may be able to promote the use of your system as being "the" system that makes the band sound the way they want (or need) to sound. As you may know, the various mixing consoles and speakers a band could play through can make a band's "sound" different between venues. Therefore, by them using your system (exclusively), will ensure the band sounds the same where ever they may be playing. As a side note regarding your comment about learning other systems (i.e the house system) I think you have passion for sound. I highly recommend learning what you can across as many different consoles (analog and digital) as you can. Many times (especially with digital consoles), learning to mix on them can be a huge head-ache. Learning to mix on other speaker systems will probably open your eyes to learning how to make bad speakers sound good. Having experiences in various consoles could open many opportunities for you in live sound. Depending on how far you want to go in live sound, you will have to step out of your comfort zone! When my company is not using its system for an event, we are usually mixing on other band's equipment (i.e. this video) or other house equipment.
Ever thought about using electrical tape? Nitto's 18mm electrical tape is $2.50 a 20m roll. It's cheap, doesn't leave a nasty residue, red/white/yellow are all readable. I go through about 1-2 rolls a year of each color. Although a some of my time as a FOH engineer is spent on digital consoles that have led/lcd scribble strips.
Yes, I use green elec. tape to "mark" my gear... microphones, cables, you name it, green tape means its mine. I couldn't see what was written on that as well as white post it notes, but maybe I need to see it done, right? Thanks for the cool tip! That is what TH-cam comments are for, and thanks for sharing!
Electrical tape could work in a pinch, however, its surface is almost too smooth which can make the Sharpie pen ink not dry in a short amount of time. The board tape we use has a rough surface (relatively speaking) which makes it easier to write on and the ink drys very quickly. I have used electrical tape in the past (after running out of board tape). I almost wish some of these analog board manufactures would incorporate scribble strips on their consoles. Thanks for your comments.
how in the world can you hear every clearly below 0. I have to raise up all my vocals to 0 or my gains to 11 o clock. But when I do that it get feed back. We only have one stage monitor @ +8 for three singers. Singers have to be two feet away from each other due to space. Any tips would be awesome. TY!!
There's a few variables involved with getting signals strong enough for the board. There's a lot involved with setting levels that may be beyond the scope of what I can place in this response, However, here are few things to consider: 1. Is the mic being used correct for what it is used against? i.e. a vocal mic should be used for vocals, instrument mics, should be used for instruments. 2. Make sure the channel gain for the mic is set appropriately (there's a video on this channel about setting vocal mic gains). 3. The vocalist should know how to use a mic. 4. Set the high-pass filter for the channel accordingly. This is usually around 75hz. 5. Roll back the hi-eq for the channel about 3 - 6 db. 6. Make sure the mic is pointed to the vocalist. The monitor speaker for the vocalist should be around 180 degrees from the front of the vocalist's mic. i.e. make sure the speaker is behind the mic. 7. Is the overall power of your PA adequate to handle a band? Sometimes, having trouble getting a good mix is due to lack of FOH power. 8. The age and quality of a mixing console can affect the system gain. Some boards have poor pre-amps, which can lead to issues. 9. Overuse of compression on the vocalist's channel can cause feedback. 10. Use channel EQ sparingly for a vocalists channel.
I was watching this again for some reason - Mixing down at the bottom of the fader throw will give you too much db gain for a shorter throw of the fader - while near unity you can move the fader farther with a smaller increase in gain.
Correct. The bottom of the fader movement provides the most db increase/decrease than near unity. Sometimes, we end up having to mix with some faders down much further due to the stage volume of the instrument we are mixing. When stage volume is loud, the goal is to keep a good FOH balance between stage volume and FOH speakers, especially for indoor shows. Thanks for your comment.
Daryl burns I couldn't agree more - the stage is a total mess! If my sound guy ever left my stage in that condition they would never work for me again. You need to learn to run your cables around the peremiter of the stage and teach that band of idiots how to set up without causing more disarray. Also - why go through the trouble of purchasing PA that should already be dialed 8n only to use unknown speakers at the rec center at the old folks home? In my opinion if you're already bringing everything else then bring your speakers also. For a small local band it only makes sense to use your own speakers and complete PA. But the cable mess - disorganized - unsafe - unprofessional - unsightly - and since everyone is walking on your cables all the time they must be the cheap assembly cables and not something good you care about - so I would expect cable breakage issues plague your outfit more often than you would care to admit.
Good observation on the cables. All the cabling belongs to the band; of which they had limited lengths available as well as limited quantities; which resulted in cables being run through their performance "area". The band was aware they could not run their cables around the parameter. Also, the band had to work around space and location restrictions which further presented issues with cabling.
stageleftaudio Overall nice sound... Just seems like the kick ring was never really tended to... Kick sounds like it has gated reverb on it... it does sound like a nasty room acoustically though...
The room acoustics were a big challenge; a lot of natural reverb. No gated reverb on the kick mic, just a gate. I ended up reducing the gain on that channel which helped some, but the kick had a bit more ring to it.
Mixing that close to the stage in that room seems like a bad idea, especially since you mentioned that you had a snake. Sometimes you can't help but being pretty much on stage when you're working in small bars or clubs, but it looks like you had a lot of room to work with.
Pretty poor documentary, I've come here learn ? To much silence, not enough explanation, whats going on through the concert on desk, like setting and sound balancing. Some of us are beginner's ? Bit thick ?
Wrong concept of miking drums entirely! The idea is not to "hear drums infront" but to EQ this instrument. EQ-ing definitelly doesn't mean "blast anybody out of hear". The only thing you will acheave this way is shitty drum sound - shitty drum sound is equal to shitty band sound. Miking the kick from behind in this situation is no no. Put the mike in the bass drum pointing thords the beater or the bearing edge (depends of how much attack you would like in the mix) instead, or in front of the reso head port hole or in front of the center of the reso head. Get the tom mike on the snare! And both the condenser mikes as overheads. Kick, snare, overheads - that's it! But let's talk with facts - what's the end result? No low end and warmth in the kick (no kick, no dance) Instead of this really loud ride cymbal which is tottally unpleasant. No toms even with your setup. Compromised snare sound. In this room I wouldn't go with overheads, or I'll bring them higher. I'll put the miks on the toms instead.
Wish i had all this when I did sound in the late 70s early 80s. I miss setting up and mixing. Yes, watch the band.
You told me more in the first 15 minutes than people have taught me in 5 years. You da man.
Thank you for your comment.
Just ordered one. I have no idea how to use a digital mixer and I was stressing a bit but after watching this video I can’t wait to get my hands on it, great video.
I have the same mixer and it was my first digital mixer and let me tell you it is wayyyyy easier to run hooked up to a laptop lol but once you play around you figure things out pretty easy
Thank you..I went from a 18I20 Focusrite to a used 16.0.2 and I like both..the presonas is really sweet..I learned somethings watching this! It's like growing up in a baby boomer family with 7 kids and your number 6..trying to keep them happy yet remaining calm lol.:)
Thanks for sharing , I've improved alot on mixing live bands just by watching your videos :) Thank you Sir
Great video. Really learned a lot
Thanks for your comment!
That's where you use your gains on the channel strip to lower the gain on the channel - and mix in the unity gain area. A fader is a cut - not a boost - and you always start at zero or unity gain on the fader and use the channel strip gain to balance the stage volume with FOH sound.
.but every time you touch gains, you changing volume for auxes...
A fader is a cut WITH a 10db boost range.
great content. thanks for sharing sir.
Mixing for the groovynators
thank you sharing man, that was very informative,
Hey there, thanks for the video. Sitting at home (Covideoing), haven’t been on a gig since New Year’s. Love how you keep the vocals in the slot. Comp and eq very nice. I don’t usually get to fine tune like that as I’m playing keys and singing on most gigs but so nice to just do sound when I get the chance. BTW, nice job working with what you’ve got. I love how you left the gains where they were to avoid messing the aux. mixes. So you had to leave the faders low on a few things, oh well. Good enough is good enough. Shame about the compression/distortion on the video sound. Damn hard to get camera audio to work in a live band situation. I guess a zoom camera would work better but thats another piece of gear to buy. I downloaded Filmic for my iphone and that made a huge difference. I turned off the compression and used manual gain. Whew, even with the crappy onboard mic I got some reasonable results without bringing any other gear. Nice for short clips on short notice. I recently bought the smallest zoom recorder and I’ll probably make a little video rig with the zoom sending analog audio to my old camcorder with cam gain way down to avoid compression. I’ll even have a backup recording on the zoom if I catch a really good show. Another rig to set up true, but if I’ve got time, why not. Thanks again for the vid.
Thanks for the video, how do you connect two different instruments in mono of a channel. Example 11/12, do you have to use a mono jack to female or male xlr for this connection or … ? Grateful for your response
Thank you for your comment. I'm not sure I understand your question. Are you asking about connecting two instruments into one input (an input that is marked as 11/12)? Can you please elaborate a little more... thanks!
@@stageleftaudio Yes, connecting two instruments into one input
Thank you for the information. Inputs that are referenced with two numbers (i.e. 11/12) are usually for stereo devices. For example, direct-out stereo devices like keyboards, and certain guitar effects/cabinets. Also, those types of channels are used when returning effects to a console from outboard gear. Faders with two numbers are not meant for two separate inputs. Due to the stereo inputs being 1/4" and not XLR, usually will indicate the use of a different impedance level than what is available on an XLR input. Using 1/4" inputs as regular inputs could result in a lot of system noise due to an impedance mis-match between the device and the console.
great video thx
All my Fat channel presets are missing. Seen that was the first thing you accessed on soundcheck. Be nice to have.
Hmmm, at 25:40 i like that song can you tell me the title :-)
Thanx for the nice vlogs / Learned a lot of them 'm managing sound at a local theater where some bands play's every sunday ;-)
Thanks for your comment. The song you are referencing is called "Feels Like Rain", by John Hiatt.
@@stageleftaudio WoW Thank you 😉 still watching your older video's i like them 😉
Booming rooms are tough!!!!
Have you seen the Stage Left Audio video's of the Scandinavian Christmas events? Hard walls, hard floor, and a parabolic dish for a ceiling. I've mixed in some challenging rooms myself, but never something like that.
@@johnmcquay82 I’ll check that video out! I have not seen it.
I am persuaded that all rooms are equally challenging in their own ways!
That type of room you are describing is a lot of fun because it’s challenging! A super tough one is the steal barn!
Does this mixer can be controled with a tablet too?
I'm not sure if this model does. The 16.4.2 series can.
Aloha, Stageleftaudio have you ever used the studiolive mixer with generator power?
Have not used it with a generator. If you plan on using any digital board with a generator, you may want to look at using both a voltage regulator and UPS for front-of-house. Digital boards are nothing but computers, and can act 'strange" under minor power issues. It's best to have clean and stable FOH power when running digital.
stage left audio
Hi, I just placed an order. I use Presonus Studio one 5. Can I record my band on separate tracks into studio one 5 or do I still have to use capture?
I’m getting this board because my Harbinger LV2404 can’t record into my DAW on separate tracks.
I’m hoping this board will make a world Is difference for me and band to do live streaming through my DAW.
Please let me know if I made a Perry good choice.
Thank you for your video here.
Thank you for your comment. The band I am working with (in this video) used their Presonus 16.0.2 to record most of their shows. I do not do much of any recording, but you will need to use Capture if you are using the 16.0.2 console. We only provide live sound services and support, so we can't comment on what board is better for recording than others... we have no idea what boards are good for recording.
@@stageleftaudio Thank you. Yes , I did see that about using Capture. I believe I will be happy with this board.
Thank you for responding 🤗
Question.... Does it really matter using Pan? I didn't see you touching it.
All shows we do are mono, on both digital and analog gear. On the analog board, we do use Pan when setting up sub-groups, but we do not use Pan on FOH. We do not Pan anything on a digital board.
stageleftaudio FOH?
Nothing is panned for FOH (unless we need to route all traffic out a specific output).
stageleftaudio thanks for taking time to reply my message.. good INFO!
Hey thanks for the video, really helped me out! I have had some problems on gigs with humming DI outputs on some guitar amps, if tweaking the gain structure doesn't help, would setting a gate on that channel be a valuable option? Apologies for my English, it's not my native language. :)
Humming with DI outputs may indicate a gain staging issue or a problem with a cable (non-balanced cable). Try lowering the gain first. If this doesn't work, there could be a ground-loop in the system. Using a gate on "humming" equipment will not correct the issue. Humming on some guitars may indicate an issue with the guitar (pickups), or may just indicate the guitar is over-driving the input of the DI. There's several areas to check. You may need to narrow it down.
@@stageleftaudio Thanks! I appreciate you taking the time to answer! I'll take this in consideration on the next gig.
Greetings from Belgium.
Is 24bit / 48khz ok for recording studio quality?
We do not do any recording. However, I understand that 48K would be a minimum; 96K (24bit) seems to be what most people use. Though, the higher the frequency, the potential for a lot of high frequency (pitch) noise. Try 96K; if it's too noisy, use 48K.
What are you Di'ing electric guitars without speaker and power amp simulation?
DI's are for the keys. The bass and lead guitar amps have direct outs in them (some call built-in DIs).
Few things, just because I cant help myself.... First of all, great video! Next, I picked up a new item that I use all the time. I see you use tape on the console. Staples (the store) now carries white "Post it notes" but they come in a roll. It is white, and looks like that scotch tape, but you can read things written on it much better, and it comes off clean with little effort. I love the stuff. Next, a local band has gotten away with giving me half of my usual fee to run sound for them on account of not having to bring all of my own gear. Just like this gig you made the video for. I am not doing any more since it is harder for me to figure out the house system, and then run sound all night too. Any suggestions on how I might explain that I still have to work all night and deserve the full share? I have one idea, which is this... "imagine the bass player leaving his amp home and plugging in DI, into the console. He still plays all night, but got to leave his big amp home. Does he still get full share, or just half?". Any insight would be helpful. These guys are missing the point. I'd rather use my own gear!
Sounds like Post-it notes is getting into the board-tape business!? The band used masking tape on their board; it is a lot cheaper than many of the board-tapes available, though if Post-it has a good alternative, this may be a better solution.
I understand your frustrations! Was there many, many years ago. You bring up a good point about fees and the analogy with the bass player. Many times, bands are not paid much to perform, especially bands that only gig part-time (which is a vast majority of the working bands.) The band members want to make money just as much as anyone else working with the band; and the more band members there are in the band, usually equates to less income for each. In the industry as a whole, it is expected to be compensated for the amount of work conducted.
Sounds like the band you are working with needs your expertise more than they need your equipment. Trying to sell yourself with using your own system can be a very hard sell!! Look at the band's situation from a cost perspective. Sounds like they are trying to control their costs and are probably ensuring a somewhat equal-pay distribution; i.e. they want to keep you on as their engineer as long as they can continue to afford you. As a stretch.... you may be able to promote the use of your system as being "the" system that makes the band sound the way they want (or need) to sound. As you may know, the various mixing consoles and speakers a band could play through can make a band's "sound" different between venues. Therefore, by them using your system (exclusively), will ensure the band sounds the same where ever they may be playing.
As a side note regarding your comment about learning other systems (i.e the house system) I think you have passion for sound. I highly recommend learning what you can across as many different consoles (analog and digital) as you can. Many times (especially with digital consoles), learning to mix on them can be a huge head-ache. Learning to mix on other speaker systems will probably open your eyes to learning how to make bad speakers sound good. Having experiences in various consoles could open many opportunities for you in live sound. Depending on how far you want to go in live sound, you will have to step out of your comfort zone! When my company is not using its system for an event, we are usually mixing on other band's equipment (i.e. this video) or other house equipment.
Wow, so much good info. I do have the passion, and you are so right about learning all I can. Will do. Thanks again for the great knowledge.
Ever thought about using electrical tape? Nitto's 18mm electrical tape is $2.50 a 20m roll. It's cheap, doesn't leave a nasty residue, red/white/yellow are all readable. I go through about 1-2 rolls a year of each color. Although a some of my time as a FOH engineer is spent on digital consoles that have led/lcd scribble strips.
Yes, I use green elec. tape to "mark" my gear... microphones, cables, you name it, green tape means its mine. I couldn't see what was written on that as well as white post it notes, but maybe I need to see it done, right? Thanks for the cool tip! That is what TH-cam comments are for, and thanks for sharing!
Electrical tape could work in a pinch, however, its surface is almost too smooth which can make the Sharpie pen ink not dry in a short amount of time. The board tape we use has a rough surface (relatively speaking) which makes it easier to write on and the ink drys very quickly. I have used electrical tape in the past (after running out of board tape). I almost wish some of these analog board manufactures would incorporate scribble strips on their consoles. Thanks for your comments.
how in the world can you hear every clearly below 0. I have to raise up all my vocals to 0 or my gains to 11 o clock. But when I do that it get feed back. We only have one stage monitor @ +8 for three singers. Singers have to be two feet away from each other due to space. Any tips would be awesome. TY!!
There's a few variables involved with getting signals strong enough for the board. There's a lot involved with setting levels that may be beyond the scope of what I can place in this response, However, here are few things to consider:
1. Is the mic being used correct for what it is used against? i.e. a vocal mic should be used for vocals, instrument mics, should be used for instruments.
2. Make sure the channel gain for the mic is set appropriately (there's a video on this channel about setting vocal mic gains).
3. The vocalist should know how to use a mic.
4. Set the high-pass filter for the channel accordingly. This is usually around 75hz.
5. Roll back the hi-eq for the channel about 3 - 6 db.
6. Make sure the mic is pointed to the vocalist. The monitor speaker for the vocalist should be around 180 degrees from the front of the vocalist's mic. i.e. make sure the speaker is behind the mic.
7. Is the overall power of your PA adequate to handle a band? Sometimes, having trouble getting a good mix is due to lack of FOH power.
8. The age and quality of a mixing console can affect the system gain. Some boards have poor pre-amps, which can lead to issues.
9. Overuse of compression on the vocalist's channel can cause feedback.
10. Use channel EQ sparingly for a vocalists channel.
I don't know how to get ez drummer 2 because I really don't have money to purchase it. Its really compressive
gating the kick (boom sound) tutorial please =)
I was watching this again for some reason - Mixing down at the bottom of the fader throw will give you too much db gain for a shorter throw of the fader - while near unity you can move the fader farther with a smaller increase in gain.
Correct. The bottom of the fader movement provides the most db increase/decrease than near unity. Sometimes, we end up having to mix with some faders down much further due to the stage volume of the instrument we are mixing. When stage volume is loud, the goal is to keep a good FOH balance between stage volume and FOH speakers, especially for indoor shows. Thanks for your comment.
Pls I need video tutorial on dbx 260
"Hey Mike?" Yeah? "Is that mike out of your way over there?" LOL! And was that a kick drum?
From what I recall, it was the kick drum.
Wow what mess on the stage with the cable you should have dressed the cables way better
But great video
Daryl burns I couldn't agree more - the stage is a total mess!
If my sound guy ever left my stage in that condition they would never work for me again.
You need to learn to run your cables around the peremiter of the stage and teach that band of idiots how to set up without causing more disarray.
Also - why go through the trouble of purchasing PA that should already be dialed 8n only to use unknown speakers at the rec center at the old folks home?
In my opinion if you're already bringing everything else then bring your speakers also. For a small local band it only makes sense to use your own speakers and complete PA.
But the cable mess - disorganized - unsafe - unprofessional - unsightly - and since everyone is walking on your cables all the time they must be the cheap assembly cables and not something good you care about - so I would expect cable breakage issues plague your outfit more often than you would care to admit.
Good observation on the cables. All the cabling belongs to the band; of which they had limited lengths available as well as limited quantities; which resulted in cables being run through their performance "area". The band was aware they could not run their cables around the parameter. Also, the band had to work around space and location restrictions which further presented issues with cabling.
stageleftaudio Overall nice sound... Just seems like the kick ring was never really tended to... Kick sounds like it has gated reverb on it... it does sound like a nasty room acoustically though...
The room acoustics were a big challenge; a lot of natural reverb. No gated reverb on the kick mic, just a gate. I ended up reducing the gain on that channel which helped some, but the kick had a bit more ring to it.
Subs are not even on the floor. WtTF. AMATEUR HOUR!
Good observation. The speaker system used for this event belongs to the house system. The house does not allow the speakers to be moved.
Mixing that close to the stage in that room seems like a bad idea, especially since you mentioned that you had a snake.
Sometimes you can't help but being pretty much on stage when you're working in small bars or clubs, but it looks like you had a lot of room to work with.
Correct. The layout of the room was rather restrictive to where FOH could be located, which is why we setup where we did. Thanks for your comment.
Throw the old Glyn Johns at at that trap kit old man.
the position of the subs is wrong
Agree.
Facing the wall? 😑
The console is facing the wall, I am not! Space restrictions caused this type of setup.
Start here - hopefully this helps you get a better mix
th-cam.com/video/SPXKFjrgDr0/w-d-xo.html
That looks like a horrible room. The old function rooms are hard to work with, good job.
lot of wires up front...
Nice video shity engineer
why is the electric guitar so loud
Pretty poor documentary, I've come here learn ? To much silence, not enough explanation, whats going on through the concert on desk, like setting and sound balancing. Some of us are beginner's ? Bit thick ?
Just be happy he took the time to even record this and upload it. Good grief.
Sad the kick sound is... Presonus gives one the best kick mix but not here bro😢
Wrong concept of miking drums entirely! The idea is not to "hear drums infront" but to EQ this instrument. EQ-ing definitelly doesn't mean "blast anybody out of hear". The only thing you will acheave this way is shitty drum sound - shitty drum sound is equal to shitty band sound. Miking the kick from behind in this situation is no no. Put the mike in the bass drum pointing thords the beater or the bearing edge (depends of how much attack you would like in the mix) instead, or in front of the reso head port hole or in front of the center of the reso head. Get the tom mike on the snare! And both the condenser mikes as overheads. Kick, snare, overheads - that's it! But let's talk with facts - what's the end result? No low end and warmth in the kick (no kick, no dance) Instead of this really loud ride cymbal which is tottally unpleasant. No toms even with your setup. Compromised snare sound. In this room I wouldn't go with overheads, or I'll bring them higher. I'll put the miks on the toms instead.
One of the worst sound check videos on the internet. Congrats on showing people what not to do
Scott Tranchitella wow! That was the least helpful comment I’ve seen in quite some time.
Dude. Horrible gain structure. Totally wrong
man buy some white electric tape from Lowes to label your mixer.... masking tape on a mixer is so garage band.
They have since then changed from masking tape to standard board tape.