I was so happy when I found this channel! Love the work you're doing and appreciate the casual yet detailed approach to how you review, or explain things.
Does Stereo channel Strip can be subgroup as stereo? ie. assign to subgroup 1-2, then take subgroup 1 and 2 channel as L-R stereo channel for processing? Thanks
So are the individual channels on drum for example or vocals “post” fader to the group? Vocals are pre of course so they can go to the monitor mix but if they are going to a group are they post fader to the group and then that group is pre to the monitors? I’m still a little confused as to the path and when to use pre and post. Not a newbee but definitely new to using groups. I’ve always mixed at the channel level for weekend cover bands for years. Never saw a need for anything complicated because of digital boards and all the goodies they can do at each channel.
Hey, great questions! I know it seems confusing, but you've almost got it. Pre and Post fader is a choice we make only for Aux sends, since the feed to the sub groups and main L/R are what the fader controls in the first place once assigned there. Pre-fade sends are usually for things like monitors, where you don't want the fader moves you make for your main mix to be reflected in the aux sends. Effects on the other hand usually get post fader aux sends, so if you push one vocalist up for a song, they get pushed up in the effects as well to match automatically. You typically won't be able to route a subgroup back out of an aux to feed a monitor that way, unless you are on a pro level console. In those cases, we often feed in-ear mixes on big stages from the Matrix outputs of the console. That allows you to mix channels, auxes and subgroups into the matrix, which is the final send actually leaving the console to go to the artist. For subgroups though, you don't have to use them, but they can make your life much easier. Especially for weekend bands or wedding bands, having things like drums, horns or other similar instruments in groups can make a huge difference. You don't have to put everything through groups either, but play around with it next time you're on a job. You can start by just routing drums or backing vocals to a group instead of the main mix. Play around with compressing the group instead of individual instruments, same for EQ. Try correcting problem freqs similar mics have at the group level, and leave the channel EQ to shape the tone of each instrument or voice. Let me know if this helps, or if I totally misunderstood your question. Thanks again for watching.
@@DcSoundOp - Wow !!! I will …. Great response…. I really appreciate it …. You helped bring my less experience to your more experience very easily and clearly.
Great video explanation. My only hesitancy with using subgroups is the FX balance when you raise or lower the group level. Is there some type of automation that will maintain the ratio set on the input channels similar to how a DCA works?
Hey Carlos, a DCA is the right tool for what you are describing. You can use both together though & grouping your FX returns with their source channels for processing together can be useful too. Thanks for the message!
Using a DCA can be helpful when you need to organize a number of things together for level control, but don't need to process their audio as a group. A drum kit is a good example where it is handy to have an overall level control for the whole kit (drum DCA) , but you wouldn't typically want to process the entire kit in the same group dynamically. Hopefully that makes sense, but let me know if you have more questions!
@@DcSoundOp Hi thanks for your answer. I understand the differences but I'm still wondering why people don't use a group systematically and not a dca when enough buses are available.
@@BarnabY07 There is a significant difference in flexibility using a DCA to remotely control a number of individual channels at once, while preserving a relationship between them, compared to the control you get at a group. Think about your post-fade sends here... Channels can also be controlled by more than one DCA, allowing you to create specific relationships between channels for different parts of the show. Lots of fun once you experiment a bit and find a workflow that makes sense for you. Hope that helps.
Great info but some constructive criticism...slow down! These are, as you said, Basics videos and in listening to them, I tried to do so from an amateur perspective and man, are you going hella fast. In the same way that it may take someone a few times to go over your vid pausing and playing, you too can make the extra effort and sacrifice a minute or two more by just slowing down a tad (or two).
Tell that to the relentless idiots that complain, downvote, email me and flip out about any video that goes over 10 minutes. Two years & 10k subs ago I didn’t have the luxury of slowing down 😂 Thanks for watching, the current videos should be a bit more digestible.
DcSoundOp let's say I normally use two drum groups keys and BGV and some instances I get a flange-type of sound while mixing or sometimes the time arrival seems to off
Whitson Williams What console are you having this issue with? I haven't heard of anyone complaining of bus latency issues being audible since back in the DM1000 days... I'm interested to hear more!
I guess may be the instrument's individual channel and the sub group you assigned it to have been double assigned, which means both have been routed to the main mix, it have happened to me before
Hey Garrett, thanks for the message! I have a video about getting better quality work th-cam.com/video/gaxNsMz4ZTY/w-d-xo.html but I haven't done one yet about finding gigs from scratch if you're new to the business. I'll add it to my list of future episodes for sure, it might take a little while before I can get it out, but I think it's a great idea for a video. Thanks for the suggestion.
Great video but I wish you didn't talk so fast, I found myself continually scrolling back to catch what you said before the previous sentence had sunk in.
Martin Still Thanks Martin - many of my older videos are under 10 minutes specifically as a response to viewers downvoting anything longer and complaining constantly about TH-cam’s ad placements in longer videos. I’ve stopped caring about those complaints, without ads these videos wouldn’t get made. Hopefully you’ll find the more recent videos a bit easier to digest. All the best.
I was so happy when I found this channel! Love the work you're doing and appreciate the casual yet detailed approach to how you review, or explain things.
Thanks Alpine Production, I have no idea why I'm only seeing your comment now in my notifications.
Thank you for these videos. It's nice to be walked through the basics. Every little bit helps.
Hey Chris, thanks for reaching out! It's always good to hear that the videos are helpful. I hope to see you over on the website, stay in touch.
Does Stereo channel Strip can be subgroup as stereo? ie. assign to subgroup 1-2, then take subgroup 1 and 2 channel as L-R stereo channel for processing? Thanks
Hey I'm Francis Sound Tech. Want to know if it's good to compress an individual channel and also compress a subgroup?
So are the individual channels on drum for example or vocals “post” fader to the group? Vocals are pre of course so they can go to the monitor mix but if they are going to a group are they post fader to the group and then that group is pre to the monitors? I’m still a little confused as to the path and when to use pre and post. Not a newbee but definitely new to using groups. I’ve always mixed at the channel level for weekend cover bands for years. Never saw a need for anything complicated because of digital boards and all the goodies they can do at each channel.
Hey, great questions! I know it seems confusing, but you've almost got it.
Pre and Post fader is a choice we make only for Aux sends, since the feed to the sub groups and main L/R are what the fader controls in the first place once assigned there.
Pre-fade sends are usually for things like monitors, where you don't want the fader moves you make for your main mix to be reflected in the aux sends. Effects on the other hand usually get post fader aux sends, so if you push one vocalist up for a song, they get pushed up in the effects as well to match automatically.
You typically won't be able to route a subgroup back out of an aux to feed a monitor that way, unless you are on a pro level console. In those cases, we often feed in-ear mixes on big stages from the Matrix outputs of the console. That allows you to mix channels, auxes and subgroups into the matrix, which is the final send actually leaving the console to go to the artist.
For subgroups though, you don't have to use them, but they can make your life much easier. Especially for weekend bands or wedding bands, having things like drums, horns or other similar instruments in groups can make a huge difference. You don't have to put everything through groups either, but play around with it next time you're on a job. You can start by just routing drums or backing vocals to a group instead of the main mix. Play around with compressing the group instead of individual instruments, same for EQ. Try correcting problem freqs similar mics have at the group level, and leave the channel EQ to shape the tone of each instrument or voice. Let me know if this helps, or if I totally misunderstood your question.
Thanks again for watching.
@@DcSoundOp - Wow !!! I will …. Great response….
I really appreciate it ….
You helped bring my less experience to your more experience very easily and clearly.
Great video explanation. My only hesitancy with using subgroups is the FX balance when you raise or lower the group level. Is there some type of automation that will maintain the ratio set on the input channels similar to how a DCA works?
Hey Carlos, a DCA is the right tool for what you are describing. You can use both together though & grouping your FX returns with their source channels for processing together can be useful too. Thanks for the message!
Hi ! Thx For the vidéo.
Why people use dca instead of groups ?
Using a DCA can be helpful when you need to organize a number of things together for level control, but don't need to process their audio as a group. A drum kit is a good example where it is handy to have an overall level control for the whole kit (drum DCA) , but you wouldn't typically want to process the entire kit in the same group dynamically.
Hopefully that makes sense, but let me know if you have more questions!
@@DcSoundOp Hi thanks for your answer. I understand the differences but I'm still wondering why people don't use a group systematically and not a dca when enough buses are available.
@@BarnabY07 There is a significant difference in flexibility using a DCA to remotely control a number of individual channels at once, while preserving a relationship between them, compared to the control you get at a group. Think about your post-fade sends here...
Channels can also be controlled by more than one DCA, allowing you to create specific relationships between channels for different parts of the show. Lots of fun once you experiment a bit and find a workflow that makes sense for you. Hope that helps.
Great info but some constructive criticism...slow down! These are, as you said, Basics videos and in listening to them, I tried to do so from an amateur perspective and man, are you going hella fast. In the same way that it may take someone a few times to go over your vid pausing and playing, you too can make the extra effort and sacrifice a minute or two more by just slowing down a tad (or two).
Tell that to the relentless idiots that complain, downvote, email me and flip out about any video that goes over 10 minutes. Two years & 10k subs ago I didn’t have the luxury of slowing down 😂 Thanks for watching, the current videos should be a bit more digestible.
How you compensate for latency with groups
What type of latency are you asking about?
DcSoundOp let's say I normally use two drum groups keys and BGV and some instances I get a flange-type of sound while mixing or sometimes the time arrival seems to off
Whitson Williams What console are you having this issue with? I haven't heard of anyone complaining of bus latency issues being audible since back in the DM1000 days... I'm interested to hear more!
CL5, Midas what I sometimes have to do is use up input channels delays on any channels to that ain't going through grps
I guess may be the instrument's individual channel and the sub group you assigned it to have been double assigned, which means both have been routed to the main mix, it have happened to me before
Could you do a video on finding audio gigs? I'm a young guy and wanna get some more work.
Hey Garrett, thanks for the message! I have a video about getting better quality work th-cam.com/video/gaxNsMz4ZTY/w-d-xo.html but I haven't done one yet about finding gigs from scratch if you're new to the business.
I'll add it to my list of future episodes for sure, it might take a little while before I can get it out, but I think it's a great idea for a video. Thanks for the suggestion.
DcSoundOp awesome! I've watched that video a few times and everything you said was spot on, i just need some advice on starting to find work.
Great video but I wish you didn't talk so fast, I found myself continually scrolling back to catch what you said before the previous sentence had sunk in.
Martin Still Thanks Martin - many of my older videos are under 10 minutes specifically as a response to viewers downvoting anything longer and complaining constantly about TH-cam’s ad placements in longer videos.
I’ve stopped caring about those complaints, without ads these videos wouldn’t get made.
Hopefully you’ll find the more recent videos a bit easier to digest. All the best.
I total agree - no way to catch up with the content...much too fast
there's this little " *ll* " button down there, you can use it as much as you want
Lack o line diagram ！😫
??