5 Tips For Better Live Vocal Mixes - Mixing Live Vocals - Live Sound Tutorial - Shown on X32 & XR18

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Improve your vocal mixes! Vocals are one of the most important aspects of a live audio mix, typically layered on top of all of the other musical instruments to varying degrees. Blending lead and background vocals. Harmony vocals. Audience members want to hear the singer! Especially true with popular modern music, musicians, and audiences. It all starts with a good singer, a good vocal microphone, and solid audio engineering practices.
This vocal mixing tutorial is applicable to any console, or processing. Various vocal mixing tips and tricks are shown.
Live Sound Reinforcement Tutorial - " 5 Tips For Mixing Live Vocals " discusses audio mixing topics like EQ (vocal equalization), HPF (high pass filter / low cut), vocal compression, reverb and other topics involved when mixing live band vocals. The video features Behringer X32 and XR18 (Midas M32 and MR18) consoles for demonstration purposes. The information is applicable to all digital consoles and analog audio mixing consoles as well though. The audio mixer surface or GUI might change, but the mixing goals and basic information and concepts stay the same.
This video is targeted to live audio but is applicable to studio work as well.
Useful for cover bands, audio engineers, sound techs, home recording enthusiasts, duos, churches, touring bands, praise bands, soloists, duos, singing groups, clubs, auditoriums, various musicians, and any person / aspiring tech interested in audio mixing.
Solid, audio vocal settings are also important to proper stage monitoring and can start right there. Setting Up The Behringer X32 For Monitors:
• Behringer X32 & Midas ...
The information can also be applied to studio recording and DAW mixing techniques, though live sound presents some challenges not faced in the studio.
Both the X32 and XR18 (and Midas M32 and MR18) can be controlled with software running on the PC or Apple's Mac platform. Both can also use apps on Android tablets and the iPad. They can be connected directly or use wifi with a proper wifi router.
X-Edit, M-Edit, X-Air Edit, Mixing Station are all popular software option options.
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►Script files and other tutorials and info in PDF format as well as scene and library files at the Patreon Page.
►Patreon Page:
/ alanhamiltonaudio
~~~~~~
Affiliate Links:
►Vocal Mics for sale at Sweetwater:
imp.i114863.net/gbd6Vv
►Mixers for sale at Sweetwater:
imp.i114863.net/0Jaj7Y
►Amazon Affiliate Links:
►►Amazon -Channel Storefront:
www.amazon.com/shop/alanhamil...
Shure SM57 on Amazon:
amzn.to/3piy76E
Shure SM58 on Amazon:
amzn.to/3bcxKF4
Shure Beta 58 on Amazon:
amzn.to/38Pg7dW
Shure Super 55 "Elvis Mic" on Amazon:
amzn.to/3bcxKF4
Behringer XR18 on Amazon:
amzn.to/2LfTpmO
Midas MR18 on Amazon:
amzn.to/3q4Z4Li
Behringer X32 on Amazon:
amzn.to/35oCcyo
Midas M32 on Amazon:
amzn.to/3ovhi8n
Gator Cases G-TOUR ATA Style Road Case - Custom Fit for Behringer X32 with Dog House and Heavy Duty 4" Casters; (G-TOUR X32) on Amazon:
amzn.to/3rTss8j
Stellar XT (Narration) Mic on Amazon:
amzn.to/38xE7Tr
--------------------
►Facebook Group:
groups/livesoundproduction/
.
EQ Cheat Sheet From ‪@Producelikeapro‬ :
producelikeapro.com/blog/eq-c...
►Suggested videos:
5 Typical Mistakes Behringer X32 and Midas M32 Users Make:
• 5 Typical Mistakes Mad...
5 Typical Mistakes Behringer XR18 and Midas MR18 Users Make:
• Five Typical Mistakes ...
X32 / M32 Gain Staging and Signal Flow (Soundcheck Basics Series):
• Gain Structure and Sig...
XR18 / MR 18 Gain Staging and Signal Flow:
• Behringer XR18 Gain St...
Audio Compression 101 / Compression Basics:
• Live Sound and Studio ...
Behringer "Vintage" Reverb Tutorial:
• Behringer Vintage Reve...
Behringer X32 DCA Tutorial (with DCA Spill Discussion):
• Behringer X32 DCA Grou...
How To EQ A Snare Drum:
• Snare Drum EQ For Live...
Live Production Playlist:
• Alan's Sound Productio...
0:00 Intro
0:10 Tip #1
1:56 Tip #2
3:38 Tip #3
7:37 Tip #4
9:30 Tip #5
11:25 Bonus Tips
#BehringerX32
#MidasM32
#MusicTribe
#LiveSound
Summary:
5 Tips For Better Live Vocal Mixes is a Live Sound Tutorial with a focus on the X32. Overall Digital Console Tutorial and Audio Mixing Tutorial for audio engineers and vocalists. Concepts are focused on vocals and vocal mixing and include standard Behringer Setup. Equalizer setup. Reverb setup. These topics also apply to Digico, Avid, Yamaha, Allen - Heath, Mackie, and other audio mixing consoles.
"As an Amazon Associate I earn from qualifying purchases."
"As a Sweetwater Affiliate member I earn from qualifying purchases."

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1 июл 2024

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Комментарии : 172

@harpplant 3 года назад

Also very important: Choosing the right microphone! This sometimes makes eq'ing obsolete. A mic fitting the vocalist makes her or him hear and therefore perform better.

@AlanHamiltonAudio 3 года назад

This is very true! Some mics suit certain voices better than others. And some mics maybe never really 100% excel, but suit a wider range of voices and are more forgiving no matter the vocalist. And regardless, a quality mic the singer is comfortable and happy with can lead to better and more consistent performances.

@michaelst7680 2 года назад

20 years ago, when I first started doing FOH, a wise sound man told me "Bring up the vocal effects till you can hear them, then back them down 3-4 clicks, let the listeners ears do the work, most vocal effects are really psycho-acoustic events". I still get compliments on my vocal mixes. Of course there are times when the effect is part of the song, like a Robert Plant echo. Another tips is watch out for drums in the vocal mics. Cymbals have a sneaky way of finding open vocal mics.

@docholiday7072 2 года назад

"...sometimes you just need to let the band be the band." How true! Great wisdom and technique outlined in this video.

@AlanHamiltonAudio 2 года назад

Thanks!

@peterreed6298 2 года назад

Agree with Doc, thanks :), usefull advice.

@josephnorris8409 3 года назад

This is awesome! Thank you for putting this together.

@AlanHamiltonAudio 3 года назад

Thanks!

@chandlerkessler9871 Год назад

Great video! Thank you so much for the time spent on this. I learned a few new things!

@AlanHamiltonAudio Год назад

Great to hear!

@TommyC-nj2rt Год назад

super informative and appreciate your taking the time to explain every step articulately and thoroughly.

@AlanHamiltonAudio Год назад

I appreciate that!

@edwinwise6751 2 года назад

Great advice.. nothing can ruin your vocals faster than the desk being set wrong .played at a club where sound guy had my vocals at 3 times louder than parody

@MrRockandBlues 3 года назад

Thank You so much! I really appreciate the help and advise!

@AlanHamiltonAudio 3 года назад

No problem! Thanks for the comment!

@ashstanke4520 5 месяцев назад

Thanks for all your contributions to helping those of who need it Alan! Great advice for the beginner and intermediate pseudo sound guy (aka guitarist in the band!)

@AlanHamiltonAudio 5 месяцев назад

Very welcome!

@edwardjameshruby9555 Год назад

I have nothing to add. The only differences in setup and process are individual performers and equipment. I'm pleased to know, my mentor quickly cemented this exact process, years ago. Great job.

@XaRuS06 2 года назад

Your videos are excellent, precise and concise advices, with real case uses... It's invaluable to me as a newbie to digital consoles, many thanks for all of these videos !!

@AlanHamiltonAudio 2 года назад

Awesome, thank you!

@tronlady1 2 года назад

Perfect voiceover audio! No mouth noises! No low end breathing! Thankyou 🙏

@AlanHamiltonAudio 2 года назад

I hate that stuff too. I tried doing a video with an earset mic and more of a free form style of narration without a proper script... and I just hated the way it turned out. The earset mic wasn't necessarily a problem itself (other than it's right there... all the time), but I much prefer a script and taking my time working with my studio mic. That way I can clip that stuff out easily, and I also use Waves NS1 these days which tightens things even more.

@KSsoundguy 10 месяцев назад

I've done sound for years and your spot on. Well done videos I might add so I'm now a follower. Kudos to you!

@AlanHamiltonAudio 10 месяцев назад

Thanks! Welcome to the channel!

@FurtiveSkeptical 2 года назад

Aligning the rejection areas of the microphones being used, with the stage monitors. Also, ideally, I've found that having access to the stage performance area and using your EQ to 'ring out' any bad resonant frequencies that naturally occur ,given the particular size/ shape/acoustic dampness of a room in question. That, coupled with getting your band to give you examples of their, louder, more aggressive tones and playstyle you'd encounter in a typical set. This allows you to avoid most 'sudden level surprises'....a hot synth patch, a boost pedal for guit solo, a song with a bit more screaming fire in vocals than last number, etc. Doing this at the gain staging part of your setup allows you to have a reasonable idea what will and won't happen if ,during the course of the show, should you have to raise the master level. Lastly, this one's tough, try to achieve the quietest ' relative ' stage sound as a band you can. Nothing guts a Front of House Mix (and the band's ability to be dynamic) more than everyone insisting their monitor/amps be cranked. Pings, howls, rings being pushed into the main mix and makes for instability and a strange, inverted, hollow barrel-ish version of your FOH start to poke thru your main mix from the monitors. In ear monitors fix this, but they aren't for everyone. Thanks for video. 👍

@NonnyStrikes 7 месяцев назад

Just wanted to spend a moment to thank you for your vids. I am very new to mixing, but due to your videos; I am able to mix more effectively than most experienced engineers I have been introduced to and worked with! Again, thank you!

@AlanHamiltonAudio 7 месяцев назад

I appreciate that! Thank you!

@NonnyStrikes 7 месяцев назад

Tonight the firmware on the xair needed an update and I had absolutely no idea. There was no signal via android tablet even though I was fully connected to the client. After about an hour and a half, I finally troubleshooted that (I'm newer to sound engineering in general) and when I discovered that portion, I still had to learn of the duo connectivity it requires when updating it! You have to have the wifi client and a usb connected to a computer that has the update file downloaded already. Headache for sure, but man what a learning experience! @@AlanHamiltonAudio

@greenpea9412 2 года назад

I tell you what. This was a damn fine video right here. I ran sound for about 8 years then stopped around 2 years ago. I'm back in the saddle so to speak and this was a nice refresher to think about.

@AlanHamiltonAudio 2 года назад

Thank you! :)

@henryssurfshowcase 2 года назад

Good tips, thank you..

@steveball4609 Год назад

Thanks for the tips, very helpful.

@AlanHamiltonAudio Год назад

Thanks for watching and commenting! :)

@DhanjitMr 3 года назад

I am interest most of the techniques I used which you have explained..

@NonnyStrikes 3 месяца назад

This alone helped me a ton, can't say enough. The most recent video on output routing I feel was somewhat part of my confusion haha. It all came down to me complicating things when I didn't need to. Stepping back and thinking piece by piece while keeping the future on the backburner, helped a ton.

@AlanHamiltonAudio 3 месяца назад

Thanks!!! That was exactly what I was trying to do with the new output routing explainer video. Some other things in routing/signal flow/mixing all kind of fall into place once you start seeing the foundational stuff better. Being wrong about even a part of the foundational stuff (like any step in the monitor path setup) can send you down into a hole that can just lead to extra confusion. But once you see it and understand the basic signal chain better, that makes other stuff suddenly simple to figure out.

@mikesledge6187 2 года назад

I'm adapting studio knowledge from years ago into live. Luckily I had a deep education on compression. I've adapted my routing to have a general bus for main instrument groups. That layer holds my feedback suppression and main peak 'limiting' for extreme moments, but more often for layered vocals that won't fall off the mic a bit. I compress most vocal channels with a generous knee to level them out a bit...

@stevennettles9364 2 года назад

Great vocal mixing fundamentals!

@AlanHamiltonAudio 2 года назад

Thanks!

@wanderblitz 10 месяцев назад

I find the last part very helpful, sometimes I get too panicky about my mix that I tend to overthink about everything in the console. Just like the mix, I also need to breathe and just sit back and listen before I adjust something. As an amateur live audio tech, your channel is such a godsend. Thank you so much!

@AlanHamiltonAudio 10 месяцев назад

Thank you!

@ThomasLoyd 3 года назад

Alan, excellent video as always! One thing I've done with my BA in Linguistics is use the knowledge of phonetics (sound production points in human mouth & throat) and the frequencies associated with those to help in my mixing. I also enjoy the tips you have because we've standardized on M32/X32 mixers for our two church campuses and this makes it so much easier to work with and understand them for both FOH and live streaming which I work with the most. Thank you as always!

@AlanHamiltonAudio 3 года назад

That's cool! I hadn't even thought about that as a knowledge base someone could tap into. Very cool indeed! Thanks for watching and commenting! :)

@ninobrown2436 2 года назад

🔥🔥🔥 great tips thank you sm‼️

@AlanHamiltonAudio 2 года назад

Thanks for watching! :)

@LukacsIET 2 года назад

Man... I really liked yout video and the way u explain the things! Congrats

@AlanHamiltonAudio 2 года назад

Thank you!

@watchmanvancouver2156 2 года назад

Simple and precise. As a “serious karaoke” singer with my own mixer, your video tutorial is very good advice for me to master a digital mixer and how to EQ a live band situation.👍👏🏼😘🙏🏼😇🐷

@AlanHamiltonAudio 2 года назад

Thanks!! 🙂

@ph-hienhang2549 2 года назад

Wow Alan Big Brother Thank You So Much For Yours Tip This is So Amazing tips lot of People got this Trouble Thanks Alan I got a problem with Effect Add On To The Mic Too Allan

@rickdeaguiar-musicreflecti7692 Год назад

Excellent advice. Thank you so much, Alan :)

@AlanHamiltonAudio Год назад

My pleasure!

@tybrenon436 Год назад

I'm 58 yrs old and have been running sound off and on for 35 years I purchased an m32 live 2 years ago Until I saw this video I was doing it the analog way Set the fader to unity then adjust the gain That absolutely does not work on a digital console Signal flow is way different on a digital board It was hard to get use to for an old guy like me But the difference is obviously noticeable Thanks your time and help

@AlanHamiltonAudio Год назад

Thanks for watching and commenting! :)

@larslengberg 10 месяцев назад

Coming from the (community) radio broadcasting side, I'm also a "fader at 0 dB -> good" person.. :) Faders go up and down all the time, so you can't remember different fader positions for each one. On our broadcasting consoles we actually have both analog and digital gain on the analog inputs. First you adjust the analog level of the preamp to get decent levels into the AD conversion. Then you can adjust in the digital domain to let 0 dB on the fader be your sweet spot. Live/PA mixing is a bit different though, where faders are up all/most of the time and then merely adjusted by the sound engineer.

@FadersGH 2 года назад

Wow. Great work Sir. I love your channel. Hopefully, i can learn more from you. I was hoping if you could make a few videos on How to eq your main house. EQ on Subs and How to know the best Reverb to use at any point in time. Also, How to EQ your hi hats and Overheads, Plus more explanation on compression; about Attack Hold and Release. Kinda tough getting it,even after i read about it, still doesn't go down. Thanks alot

@computerjantje 2 года назад

Thank you.

@jimpemberton 3 года назад

Parallel compression can help control your vocals too without snuffing the life out of the transients. They can increase the likelihood of feedback in a live setting, so use judicially. Something to do with the EQ during sound check is to run a frequency hot to find out exactly where it needs cut, then cut too much briefly to see what it does and move it back up to 0 and down minimally. This helps focus your ears on what you want to hear when you make the level adjustment you are going to go with.

@AlanHamiltonAudio 3 года назад

Parallel compression is a great technique. And having the mix control on the channel comps (and bus comps for that matter) makes it really easy to experiment and dial in. No latency worries and no extra patching. Good tip!

@nunojorgenjstudio7954 3 года назад

I use the mix parameter on the compressor, to achieve some kind of parallel compression. It lets me go heavier on the compression and mix it in to consolidate the lower parts of the vocal, leaving the more dynamic parts standing out. It helps the lyrics to come across on uneven performances.

@AlanHamiltonAudio 3 года назад

That's a good tip for drums too. Parallel compression is a great way to both compress heavily, yet also allow a voice or instrument to breathe in a mix. Good tip!

@michaelwilliams9508 2 года назад

Thank you...

@tubetone74 2 года назад

Well done my man.

@AlanHamiltonAudio 2 года назад

Thanks!

@patrickgrinage6910 2 года назад

So, I've got no sound mixing degree or anything... but I've run the board at my church for worship a few years now, and also have a few concerts and musicals under my belt. I've definitely gotten better at it solely through experience, but I'd like to thank you for this video of tips. Since I second guess myself quite often it's so wonderful to get some confirmation from a professionals' tutorial video that I've been setting up my vocals and mixes correctly! We're actually about to upgrade our system from a 40 channel analog board to the Allen & Heath SQ-6 so I've been trying to get some more in-depth knowledge since I know this new system will be able to do astronomically more than what we can do right now. I'm also probably going to be the one training the other two gentlemen on our team how to use our new toy. So thank you again for the great video, and the little self-confidence boost I got from watching. 😊

@AlanHamiltonAudio 2 года назад

Thanks! Glad to help! :)

@wpbuilding442 Год назад

NIIIIIIICE!!!! Another very important video I was looking for.....My wife is going to love me now because I am going to fix our issues lol. :) Thank you!!!!!!!

@AlanHamiltonAudio Год назад

Glad to help!

@jeffmcclellan1395 11 месяцев назад

sometimes the best way to make vocals stand out is to bring something else down. everyone loves loud guitars at rock concerts, but loud guitars plus louder vocals equals hot mixes that end up being to "busy". instead, back off on the guitars a touch instead of pushing the vox harder, a clean mix is always better than loud.

@AlanHamiltonAudio 11 месяцев назад

Yes. Definitely. Good point. I use that all the time... sneak the guitars back a bit to let the vocals have a little more space at different points in a show. It doesn't even take much to make a difference, and yet not even really be noticeable (to the crowd) that the guitars are back a smidge. It helps to keep the show from being a case of everything constantly a little bit louder than just a few moments ago... which adds up and can get out of control over the course of a set/show.

@brentsmith2865 Год назад

Man I thought this was awesome, I have the Xair18. I struggle at times to make our singers sound good. I believe your channel is gonna help. Thanks man

@AlanHamiltonAudio Год назад

Hey, thank you!

@AlanHamiltonAudio 3 года назад

Today's entry is a primer on mixing live vocals. Heavy use of the Behringer digital platform, but the concepts apply to any mixer, analog or digital (and compressors, reverbs as well). Feel free to share the video link to audio groups, social media sites, and other places where it might be relevant and helpful. Let me know suggestions for future topics, any questions, and share any tips and tricks that you have to help with mixing efficiency. EQ Cheat Sheet From Warren Huart's "Produce Like A Pro": producelikeapro.com/blog/eq-cheat-sheet/ Patreon Page: www.patreon.com/AlanHamiltonAudio Facebook: facebook.com/groups/livesoundproduction/ Suggested videos: 5 Typical Mistakes Behringer X32 and Midas M32 Users Make: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-tP7dO2Za6bw.html 5 Typical Mistakes Behringer XR18 and Midas MR18 Users Make: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-EilVDp39A9g.html X32 / M32 Gain Staging and Signal Flow (Soundcheck Basics Series): ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-7MJ3rfj7HNc.html XR18 / MR 18 Gain Staging and Signal Flow: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-dM8aYehOTyI.html Audio Compression 101 / Compression Basics: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-1hyIQqw0fUg.html Behringer "Vintage" Reverb Tutorial: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-6r5k1P_ZGsQ.html Behringer X32 DCA Tutorial (with DCA Spill Discussion): ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-iVZC2eJhXNE.html How To EQ A Snare Drum: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-gITnB0hQ9as.html --------------------------------- Amazon Affiliate Links: Shure SM57 on Amazon: amzn.to/3piy76E Shure SM58 on Amazon: amzn.to/3bcxKF4 Shure Beta 58 on Amazon: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-iVZC2eJhXNE.html Shure Super 55 "Elvis Mic" on Amazon: amzn.to/3bcxKF4 Behringer XR18 on Amazon: amzn.to/2LfTpmO Midas MR18 on Amazon: amzn.to/3q4Z4Li Behringer X32 on Amazon: amzn.to/35oCcyo Midas M32 on Amazon: amzn.to/3ovhi8n Gator Cases G-TOUR ATA Style Road Case - Custom Fit for Behringer X32 with Dog House and Heavy Duty 4" Casters; (G-TOUR X32) on Amazon: amzn.to/3rTss8j Stellar XT (Narration) Mic on Amazon: amzn.to/38xE7Tr

@ThatDamFly 2 года назад

This was fantastic, thank you

@AlanHamiltonAudio 2 года назад

Glad you enjoyed it!

@RnBDSidestreetBandfamily 3 года назад

Thank you for your tips Alan, applying to my Behringer XR18 to the band, Its great. hope to see more tips Alan. We are from the Philippines. #RnBDSidestreetBand #IlocosNortePhilippines

@AlanHamiltonAudio 3 года назад

Thanks for watching and commenting. There will be more videos coming. :)

@relikvija Год назад

Good job bro

@AlanHamiltonAudio Год назад

Thanks!

@valband4848 3 года назад

Another great video. I was not able to find any video's on acoutic guitar (piezo pickup) EQ. If you know of one, can you point me to the right direction. I am having problems getting the right sound especially challenged by the low E string.

@AlanHamiltonAudio 3 года назад

Is this an under the bridge/saddle style piezo pickup? Sometimes those give you problems on one or the other end strings because they aren't properly seated under the saddle. Or a shim has been inserted that doesn't fit properly. Take the saddle out and fish that pickup out and see how it's seated and clean any debris from the bridge while it's all out. And make sure the hole that the wire goes thru in the bridge is big enough with no burs keeping the pickup from properly seating itself. If it's a flexible style, make sure it was bent in the proper place that both ends of it covered your entire string width and beyond... You can re-bend it if it's the flexible style. Sometimes you just need a new pickup under the saddle. It's pretty simple and inexpensive surgery, and if your preamp has a plug and isn't hardwired, then it's a no solder, plug and play operation. If you don't have a female jack on the existing preamp, it's a good opportunity to solder one on the cable instead of just splicing in the new piezo strip pickup and making these future swaps plug and play. IIRC, they use a plug smaller than a 1/8" so make sure and check the plug sizes on the after-market piezos when you buy that female jack. Don't assume it's 1/8". I just did this swap on one of my acoustic guitars this past summer. And I added a female jack to the preamp wire that matched the jack that was already installed on the new piezo. I got both from Amazon. And the pickup was Musiclilly (or Music Lilly) and only like US$10.00 for a pair. No idea why they sell them in pairs... But now I have a spare. (I had a different issue with my pickup, but the new pickup improved the sound immensely. I had took my time seating it, so the sound is balanced. (I suspect some of these pickups are just slapped in at the factor with little attention paid to detail and they are just looking for a pass or no pass sound test... not whether it's properly balanced)).

@pauljosse Год назад

I need help.... I can't get my xr18 sounding anything but crap

@webjammer1 2 года назад

Great video Also, the lower your stage volume the better the vocals will sound. In ear monitors make a big difference as does going direct input.

@AlanHamiltonAudio 2 года назад

Thanks! Yes, IEMs can really clear up the stage, as can going with something like Kempers direct in place of loud amps.

@BjorgenEatinger 2 года назад

@@AlanHamiltonAudio Hello Alan. What are "Kempers?" I've not heard that term before.

@AlanHamiltonAudio 2 года назад

@@BjorgenEatinger It's been a while since I made the video so I don't remember where the Kemper reference comes from, but I assume it was probably talking about these: www.kemper-amps.com/

@jlc2093 2 года назад

Or gates

@benjdave24 2 года назад

Hi Alan...I"m learning lots from you...newbie here...is it ok if I will just turn off the eq and not reset it? Also with drums and instrument? Thanks...God bless you🙏🙏🙏

@AlanHamiltonAudio 2 года назад

Yes... especially to compare no EQ versus the existing EQ to see whether the existing EQ is actually helping or hurting. You can also save the channels individually into the channel library. So you could save the current settings on a channel, reset the EQ, and make smaller/different tweaks and if it's not better, recall the original channel settings from the library.

@AZ-pp5qs 2 года назад

Can you send effects to only on fb live? We ran our live mix through matrix. I don't want to use effects on live because our building is not treated and has lots of reverb already. But is there a way to only send effects to online live mix? Thank you. And great video.

@AlanHamiltonAudio 2 года назад

Yes... but... It depends on how you are doing things now. If you're just sending your mains directly to the stream then that won't work... Nor if you're sending your mix to the stream via a matrix tapped off the mains... But if you have a dedicated mix going to the stream then it gets possible. What console are you using? Let's say you have a dedicated bus/aux feed going to the stream. Either pre or post fader. On the FX return, UNASSIGN it from L-R but DO turn it up on the bus/aux that feeds your stream mix. If it's post fader then the FX return fader will have to be up (but since it's unassigned to the main mix it won't be in the house). If the bus/aux send on the FX return is pre fader, it won't matter where the FX return fader is set at... as long as you remember to unassign that FX return from the L-R/Main. This video (linked below) is talking about streaming using the XR18 and OBS, but the concept of setting up a stream mix when the video focuses on the mixer applies to any mixer really. And how your get your feed to the stream would be no different than however you are doing it now, aside from changing it to a bus out versus the main out IF you're even using the main out now. You might already be feeding it from a bus. Things might look different, but the terms and concepts should be the same: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-aNlBOOhWbZw.html

@ogundeleobasanjo2362 2 года назад

Good day Alan, please can you make a video on how to record without using a Daw, probably with one of the outputs to audacity or other software thanks.

@ogundeleobasanjo2362 2 года назад

On Xr18 please

@AlanHamiltonAudio 2 года назад

@@ogundeleobasanjo2362 That's a good suggestion. Essentially it's going to be like the setup for sending PC audio over USB to the XR18 ( ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-v0MC76qB0j8.html ) ...But the reverse... Just sending a stereo feed over USB to a computer. I'll write this down so I don't forget about this video suggestion.

@ogundeleobasanjo2362 2 года назад

@@AlanHamiltonAudio Thanks for your support Alan, it will be cool to see the video on that soon.

@DecadesApartBandSTL 3 года назад

I would be curious to your thoughts on adding a gate to microphones to reduce some of the bleed when using in-ear monitors.

@AlanHamiltonAudio 3 года назад

It's something I try to avoid. I'd first try to create some space onstage between the mic and what it's picking up (if possible) that I don't want it picking up... and if I can do some surgical EQ at the console without it being too destructive, then it's a bit of compromise and "pick your poison". But... eventually it's an "any port in a storm" scenario. One control a gate has is "range". Normally, we have that set to kill the signal entirely once the gate closes (after hold and release have played out). But it doesn't HAVE to be a full closure. It can simply be knocking back a few dB after the gate closes. I'd definitely play with the range control (looking at a MUCH lighter setting than say a normal drum setting) and hold and release (with likely longer times than I'd normally use for drums. You don't want the gate chattering on vocals... and neither does the singer. The worst thing to look out for is that on small stages the stage wash is so loud that an effective gate setting for the mic when the singer isn't in front of the mic (and between the mic and the offending sound source), will just be too much and you end up with it negatively impacting vocals because the singer's normal dynamic range comes into play here as well. You don't want the gate chopping off phrases, or not opening fast enough to catch consonants. Look into expander settings for your gate. This topic is WAY easier on the recording side of things because you record your vocal with no gating/exp, and you can spend as much time as you like playing with gate/expander settings after the fact. Even automating the process to apply different amounts to different phrases and sections of the song. Live, when it's wrong, by the time you notice, so did the singer... and probably the audience too. It happened in realtime and no rewind button to fix it before anyone besides you (the engineer) gets to hear it. Maybe someone else can add something to this with some settings and the like. I tried to find a quick link to post, but most everything I see up front is talking about recording and post production tactics. Thanks for watching and commenting!

@DecadesApartBandSTL 3 года назад

@@AlanHamiltonAudio Thank you for you quick response ... Your reply makes a lot of sense to me and I will rethink my approach.

@AlanHamiltonAudio 3 года назад

You're welcome! :)

@nunojorgenjstudio7954 3 года назад

I use the expand options on the X32 gate, for a more natural reduction of the silent parts, without cutting off the sound, a fast attack and a "natural" release time (and hold time on toms).

@ToddWCorey1 3 года назад

@@AlanHamiltonAudio The expander is a great idea in my opinion; it is to a gate what a compressor is to a limiter -- gates and limiters are all or nothing, while expanders and compressors are much more adjustable and not so drastic.

@johnpaulboneo757 3 года назад

Sir can you teach how to put vocal effects on Bus out or Aux out

@AlanHamiltonAudio 3 года назад

I need to do another video on vocal FX and really do some real-world examples I think. I did do this video on FX routing recently that might cover some of this if you haven't already seen it: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-dCTcbV-_ccQ.html

@jonathanchartrand3351 2 года назад

Again a great instructional video, but I would have like to hear the before and after, but you were talking through that so I couldn't hear the comparison result.

@AlanHamiltonAudio 2 года назад

It's kind of a catch 22 that I struggle with. If I leave more space in for audio comparisons, analytics say people leave those videos as if those are lulls in the video. And that might be because much of the audio comparison in the video doesn't really matter, what matters is what is being shown to try and applying and hearing it on your own mixes. Of course it still kind of depends on what is being shown/discussed. If it's "Do you ever have this kind of problem?" then the viewer needs to 'hear' the problem. One day I might make some type of long form video, maybe an online course, or something for Patreon, where I can take the extra time for things like that and not have to concern myself with the YT algorithm and how it can negatively impact a video's reach if the algo sees issues with viewer retention and the like. Or maybe it's just finding a happy medium for that and audience.

@jonathanchartrand3351 2 года назад

@@AlanHamiltonAudio Thanks for the lengthy explanation.

@jhunerana214 3 года назад

Hi, can you make a video for behringer xr18 on to set the mute in the main fader that it can’t affect on the monitor..what i mean is even if you mute the vocal kic in the Main F.O.H Speaker it doesn’t mute in the monitor it will always on, on the monitor but in the main Speaker is off..Thanks You

@AlanHamiltonAudio 3 года назад

I don't think there is a way to do that, although I think you might be able to get there via mute groups. Assign all the channel to a mute group and use that master mute group to mute all the channels at once.

@breaktherecorduk6234 2 года назад

Hey, we’re wondering how you’re managing to get to -18dBfs without using any input gain, EQ or Compression? We’re having to use +36dB input gain to get to that level and then we’re getting uncontrollable feedback. Could you please advise? Thanks

@AlanHamiltonAudio 2 года назад

I probably should do a video on this question... Lots of material here to cover. First, the answer is going to be signal flow and gain structure related. Since we have input meters we know we can get our first stage in all of that correct. So if your input gain is properly set and that leads to uncontrollable feedback and way too hot of a signal, that tells us to follow our signal flow and look at gain structure and other issues throughout the console and even downstream of the console. I'd first turn off any gates, compression, and flatten the EQ in the console. You don't want to be performing into 22dB of GR on the compressor and then when the compressor releases and that signal is not there, you get those 22dB back on an open mic or mics. You also don't want to be trying to set the system thru improper and/or over-EQ that could be creating unnatural system/mic responses. So, with the channel fader and mon send faders down, and the main fader and mon main (aux main) faders at unity... Set the gain like described in the video. If your gain control goes to +36dB to get an avg -18dBFS on the input meter, that is fine. Now bring the channel fader up slowly. If it is quickly screaming loud... then into feedback... uncontrollable feedback... before you get anywhere near unity on the fader, that's a good sign you have a problem downstream of the console. If you've cleared the signal path in the console of any possible mis-applied EQ, compression removed from the equation (you want to set compression only after you have your gain structure correct), and no plugins doing things to the signal path, then that pretty much points us to after the console. Unless you have some analog rack of processing after the consoles, then it points us to the speaker system's amps. Assuming you have a properly matched system with factory settings in use, then the most likely thing is you need to lower the level of either the DSP outs (or inputs possibly), the amp inputs, OR if running powered speakers then the speaker input levels. If you're plugged into someone else's racks and stacks and don't have access to those things, or you're at a gig and don't have time for any of this, then you bring down the main fader and/or main mon level outs on the console. The effect is the same. This allows you to get the console channel faders and mon send faders/knobs into something at least close to the unity range. Even if it's -5dB down, at least you're close. Note: I'm not saying faders should live at unity for a mix... They'll live wherever it sounds good... I'm just saying when the gain structure is right throughout the system, the faders SHOULD be able to get to unity with acceptable level and no feedback and a modern pop mix is going to live in the range of unity... give or take a few db for subjective mix tastes. So with all of that said, you could find yourself with a small amount of feedback, maybe a ghost of feedback or a hollowness with a freq or two wanting to take off. That's where you go to your EQ and notch those freqs. But this is generally 2-3 points that need notched. There is a point of diminishing returns. I have this video about ringing out monitors, but it also applies to house too: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-pu0xjl0rpMU.html The last point to circle back to is the system configuration. If you have a mish mash of mixed system components with different amp brands, different speaker cab brands (even in the same freq band), DSP settings someone created and didn't understand what they were doing, etc... Then it's possible it's not just a gain issue at the amp rack. You can have over-EQ at the system level too. That would take some sorting out. But these days, it's pretty easy to put together a matched FOH speaker system, and factory settings to use for the DSP (or the DSP and settings are already built into the powered speakers). I have a couple of specific videos about gain structure on the X32 and one on the XR18 so if you're using those consoles you might want to watch those. And also it might be worthwhile to look at one of the "5 Typical Mistakes..." videos I have on the channel if you're using an X32 or XR18/X-Air. Or the Midas versions. Even if you're using something else, the information is still pertinent. Even though it's showing the Behringer GUI and geared toward those users visually, the concepts remain the same across platforms.

@songwriterscove4515 6 месяцев назад

Would you ever put a compressor on the overall mix of a live band? If so what are the general settings?

@AlanHamiltonAudio 6 месяцев назад

I would... a lot of variables go into things. Sometimes I just might want to take some peaks off the system. So maybe a 2:1 compression setting with the threshold adjusted just to tickle the GR meter, if anything, for most of the night and just on louder dynamics. That's especially true on a one-off where I'm not 100% sure about the band's overall style and they seem pretty solid. So I don't want to get in the way too much, and I'm not trying to 'fix' anything with the band or system I happen to be on. I'm probably not going to run the ratio much higher than 2:1 on the house, and certainly I'd be asking myself "Do I really want/need to do this?" if I turned it up to 4:1. Of course, there's a dance between the ratio and the threshold setting. You can go with a more aggressive ratio BUT a less aggressive threshold so that the peaks get hit harder, but it's not like the system is always in compression. If that's what is called for. There are 'peaks' and there are PEAKS... so it's all in what you're trying to accomplish. Does the music sound better with some of the dynamics reeled in or not? Can the system HANDLE the dynamics? If the PA lacks headroom and/or has some kind of problem then you probably need to think about that before any creative/subjective settings for house compression. Can the crowd/venue HANDLE the dynamics (are the loud parts simply be 'too loud'?)? This could be especially true in some venues/situations. Like maybe the first show of the day, first set, or a morning church service needs to be a little more restrained than later. But the band might not always oblige and so you need to approach main levels and overall compression a little differently between these different times of day and/or attending crowd types (and expectations).

@jimmunster57 4 месяца назад

Our keyboardist is using many different patches throughout the performance and his gain and volume are wildly variable. Can you suggest a compressor setting or something to keep his overall volume in check please?

@AlanHamiltonAudio 4 месяца назад

This is a tough one. How variable? Keep in mind any compression is AFTER the preamp, so an internal compressor won't help if he's sometimes clipping the input. All you can do there first and foremost is set the gain so that it doesn't clip on his loudest patches. And then it also wouldn't hurt to have the sound person or a trusted observer take notes on which patches are too much and which aren't enough... and which are within the window of OK. Then get the keyboard player to adjust accordingly. Then re-address gain and monitor sends after this. In a perfect world, this takes care of things... but assuming it doesn't, at least maybe it closes the gap enough so that you can put a compressor on the keys with a mildish 4:1 ratio, and dial the threshold in so that his 'normal' patches stay unaffected, and when he digs in, the compressor kicks in. If 4:1 is not enough, try up to 8:1... or even 10:1 if you just have to. And you can probably leave the makeup gain control at unity. This assumes that you can get his lower patches turned up by him naturally and you're just trying to knock back the loud patches. If you have to raise the lower patches AND knock back the louder patches via compression, then you're probably not going to be able to use more aggressive thresholds but instead simply dial in that 4:1 ratio only now dial in the threshold so that the lower patches are tickling the gain reduction meter, and the higher patches are really clamping down. And THEN you need to adjust the Makeup Gain to account for the average amount of GR you have going on. Soooo... if the keys are hitting -12dB of gain reduction pretty regularly, then you need to ADD 12dB to the makeup gain control. Turn the monitor sends DOWN before you do this and reset monitor levels only AFTER tweaking the compression in this scenario because the makeup gain will make the key monitor feeds louder..

@mandubien Год назад

I prefer a lot of compression for vocals. They’re the most dynamic out of any instruments. 10-15 dB of gain reduction is not a problem if times are set properly.

@AlanHamiltonAudio Год назад

True... but... that needs to be context. That works when you have a separate monitor console, or splitting channels or using some other method so the house vocal feed processing isn't in the monitors. That amount of compression on a vocalist in the monitors wouldn't be appreciated by most vocalists.

@mandubien Год назад

@@AlanHamiltonAudio I can send the tracks pre compression to the monitors, so it’s ok with my current mixing board. But yeah it’s depends on what the guys need so they can perform well.

@AlanHamiltonAudio Год назад

@@mandubien Yip, it's all about understanding the signal flow, tap points, and (obviously) what any processing is doing in the first place.

@pattyspeedmusic 8 месяцев назад

Amen! No it wouldn't. Too much compression (without enough volume) is like singing into a brick wall. Trained vocalists TRAIN to have dynamics that aren't overbearing but convey energy and emotion of songs. Wrong amounts of compression can hurt, tire and even damage our voices BIG TIME as well as make our jobs not fun at all.@@AlanHamiltonAudio

@blehman7011 2 года назад

I have the compressor on nearly all of my active channels (10-12 channels total). When I navigate to the compressor page at times, the xair edit program on my computer crashes. have you see this when using compressors or FX inserts? Odd anomaly

@AlanHamiltonAudio 2 года назад

I've experienced anything like that. Have you made sure you're on the latest X-Air Edit, and maybe XR18 firmware? You might need to just remove it from your computer, reboot, and then reinstall. Maybe something is corrupted. Have you tried M-Air Edit (the Midas version) to see if you have the same issue? The Behringer will work just fine with the Midas M-Air Edit software.

@erwintur2 2 года назад

We're using xair and in ears, do you know, how I can send fx to linked bus outs? If I insert them directly on a chan, it's way to much

@AlanHamiltonAudio 2 года назад

Watch this video: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-e_XsfTV36vU.html

@rodgp 2 года назад

Do you have any trick to add distortion to the vocals without getting feedback FOH ? I'm looking for Muse's Hysteria type sound

@AlanHamiltonAudio 2 года назад

I'd probably INSERT the Tube Stage/Overdrive processor on the lead vox, or vocal subgroup if I wanted it on all vox. Engage it when needed... bypass it or use a snippet to change it out when not needed. I'd definitely try inserting it on the channel or bus, not setting it up like a standard bus fed (send and return) style reverb or delay.

@rodgp 2 года назад

@@AlanHamiltonAudio great, I will try this, thanks for the help

@chheatchhiv7686 6 месяцев назад

Vocal we no need gate? What about effect use only reverb or….? I want you to teach how to use effect or something like that because I see many setting 😂Thankfully

@AlanHamiltonAudio 6 месяцев назад

It's pretty rare to ever gate a vocal. An expander sometimes... or else an external piece of gear like an Opto Gate that works off of entirely different technology to mute a mic when a musician is not at the mic. A plugin gate usually creates more problems than it solves for a vocal since a vocal is so dynamic plus the mic can also be used for talking too. So the volume extremes mean a gate, to be effective removing stage wash picked up by the mic when it's not being used, could also lead to chattering (gate opening and closing too soon) on speaking and quieter vocal parts. Plus closing too soon on extended and fading notes that are sung.

@JoshuaLangford Год назад

I will boost some in 2Khz and 4Khz for a flat room and set my HPF to 200Hz

@f00kwhiteblackracismwarsh07 10 месяцев назад

why should I use gate on for the vocals because i have never done that and have seen people do it?

@AlanHamiltonAudio 10 месяцев назад

I can't recall ever using a gate on a vocal. I can think of situations where I might, but they'd be extremely rare. For one thing, there are so many dynamics in a live vocal, plus speaking into that same mic, that to set the gate to open naturally would be tough (yet also set it to be effective)... versus chattering (the gate obviously cutting in/out of vocal phrases). Obviously, why people would want to do 'something' (and try a gate) is to keep stage volume out of the mic. Especially on small stages or close proximity where loud things like a snare or cymbals might be close to a mic, there could be things slipping into the mix from a vocal mic that a person might not like. But the gate's method of working isn't the ideal way to address that. Too abrupt normally. If you adjust it not to be abrupt, then it's also generally not functioning well enough to actually keep the stage wash out in the first place. Some people find other ways to deal with that stage wash... Like a drum shield, mic placement, an EQ compromise, and ultimately a different mic and polar pattern... or all of the above. Some people use expansion rather than a gate. Finally, there IS the Optogate solution that DOES work much better if the visuals of it aren't an issue. It connects to a mic AT the mic and works off of someone's proximity to the mic. Essentially, when the person gets close to the front of the mic, it senses it and opens the mic. When they step away, it senses that as well, and closes the mic. No chattering.

@jayeshsounds1499 Год назад

We can't drive same root in same set up

@dinolisi9812 2 года назад

What APP are you using ? this looks nothing like mine.. HELP I'm going nuts!!

@AlanHamiltonAudio 2 года назад

X-Air Edit (which is available for PC or Mac). That is what you're seeing here. You might try installing Mixing Station on your iPad versus the default/original Behringer iPad app. Mixing Station looks more like Behringer's X-Air Edit. Once you learn X-Air Edit it's easier to navigate the apps though, no matter which you use.

@dinolisi9812 2 года назад

@@AlanHamiltonAudio thank you !!! My head was ready to explode.

@briangray4640 2 года назад

@@dinolisi9812 I had the same frustration--all video tutorials seem to assume you know how to get this app, and you don't. For viewers with the same question, go this path (to get the app for the XR18; different apps will have correspondingly different paths): Behringer homepage-->Downloads--> Product Group (Mixers); Main Categories (Digital Stagebox Mixers); Product (XR18); Type (Software). Select the app for your operating system. Mine is the "X-AIR Edit (PC) version 1.7".

@dinolisi9812 2 года назад

@@briangray4640 thank you!!!!

@user-nm6sw6wy3p 2 года назад

Good evening! Thank you, the video is subscribed to your channel. Please, if you can translate into Russian. Interested in the video I would like to understand what is at stake

@user-nm6sw6wy3p 2 года назад

subtitles in Russian please субтитры на русском языка пожалуйста

@AlanHamiltonAudio 2 года назад

@@user-nm6sw6wy3p Это работает? Проверьте видео сейчас.

@user-nm6sw6wy3p 2 года назад

thank you for the video!

@AlanHamiltonAudio 2 года назад

@@user-nm6sw6wy3p You are welcome! :)

@dove690 2 года назад

Hey sir I have a question can you explain what is the difference between the PEQ and the VEQ? Thank you.

@AlanHamiltonAudio 2 года назад

Both are actually parametric EQ's, but the VEQ (according to Behringer) is more of a vintage EQ emulation. The main obvious difference between them is the VEQ has a wider default Q (frequency bands are wider). So it will color the sound more and affect more of the area around the center frequency when it is used in default mode vs the standard PEQ. I don't know if it emulates anything else specific to some vintage, unnamed EQ, than that. If it does, it'll just be more of a color thing where it's adding some subtle nuances to the sound that the PEQ doesn't add. If you're experimenting, you might find PEQ works better on the main outs and monitor outs where you're using it surgically for feedback issues, while VEQ might be better on the channels when you're using it more for color. But really, I tend to just use the PEQ in both cases and just widen the Q when I think it needs it. OTOH, I'm not adverse to trying the VEQ on a channel sometimes.

@dove690 2 года назад

@@AlanHamiltonAudio God bless you Thank you so much for your time. Today I learn something new from you. Salut From România :)

@AlanHamiltonAudio 2 года назад

@@dove690 Thanks for watching and commenting!

@WDShorty 3 месяца назад

If the vocals sound weird it's probably how the singer is holding the mic or singing improperly and it's not your job to try and fix it, fixing it in the mix will never allow them to learn to sing or sing into a mic properly, just saying.

@AlanHamiltonAudio 3 месяца назад

The cupped mic syndrome... Almost a no-win situation if you don't get to them early. Old habits die hard. They see others doing it and think it looks cool. They get used to that midrange bark, megaphone sound in the monitors. Once they're used to it, they don't understand how much it negatively impacts the mic's sound nor ability to get normal levels without feedback. And some really do WANT that sound regardless of what the engineer thinks is 'better'. But many DON'T want that sound when given a choice or when listening constructively, but like I said... old habits die hard.

@Sniper_Traders_Zw9414 10 месяцев назад

What is the name of the software you are using

@AlanHamiltonAudio 10 месяцев назад

It's been a while since I made the video but I think I used Behringer's X-Edit (PC) software for part of it, and a little bit of the GUI for Waves' C6 (or C4) compressor in it as well. Not sure if I used any Avid Venue software in the video or not. Seems like I didn't.

@lisan_al-ghaib Год назад

Hey man, just a quick suggestion, if you're talking a lot about mixing, I think the audio in your videos should also be mixed properly. I find it ironic somewhat that there are channels focused on mixing but the audio in their videos are not mixed and that goes with other bigger youtube channels as well. Just a suggestion.

@AlanHamiltonAudio Год назад

What is specifically wrong with the audio in the video?

@lisan_al-ghaib Год назад

@@AlanHamiltonAudio I'm not saying it's wrong, just saying it could be better. Highs and details are missing, needs to be a little louder imo. honestly other channels have it worse. btw, can you do a video on how routing works on the midas m32? I've used the same mixer but from two different contractors and their routings are different, not sure why some channels don't appear in the FX etc.

@AlanHamiltonAudio Год назад

@@lisan_al-ghaib The setup I used on these older videos, both the hardware and software, and even room for that matter, have all changed over time. I think the videos from the last several months have more consistency in the audio track. I haven't done an overall routing video for the M32 yet... but that's a good idea. There are a couple of videos that do touch on parts of that though. I have a video talking about FX routing for mons that by necessity covers the basics of FX routing inside the X32/M32. It's here: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-e_XsfTV36vU.html Then there's the monitor setup video for the X32/M32 and it also takes about some routing issues and decisions in the sends of the X32/ M32- ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Vz9E6FaCatQ.html I suppose another video that also gets into some of that would be this one too: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-iVZC2eJhXNE.html

@lisan_al-ghaib Год назад

@@AlanHamiltonAudio thanks for this!

@lapaginajoven Год назад

Is there any rule or tip for set Vocal gain versus instruments gain?, my problem is that if I set vocals almost equal to instruments and, set mix faders equal ( -10db for instance) all instruments mask or cover vocals. thanks

@AlanHamiltonAudio Год назад

Probably the simple answer is, don't set channel faders equal. If the input gains are correct, and consistent, you can give the vocals an extra few dB on the channel fader... and take away a little on the instruments if you need to. So maybe the lead vocal gets set at +3dB on the fader, and everything else is around unity, or a little below, depending on where your ears tell you they need to be. Maybe even less if stage volume is adding to the problem. Sometimes, you really have to remember it is "Sound 'reinforcement'" and when things onstage are already pretty loud, they don't need much 'reinforcing'. Especially on smaller stages and venues. There are some other tricks, like sending everything EXCEPT the vocals into a subgroup, or VCA/DCA if you're on a console with that option. That allows you to pull down the music via the subgroup or VCA/DCA even if the faders are around unity on the channels, while leaving the vocals alone (and up). Or if it's just something like a horn section, or the guitars, overwhelming the vocals, yet overall the vocals are plenty loud, but that other section could stand to come down, then just run that group of horns or guitars (or whatever the case might be) thru a subgroup or DCA/VCA. And yes, you can be a little less or more aggressive on the channel gains if that helps. But I'm talking 3dB more here or 3dB less there. Not major differences from channel to channel. You want some consistency in your input levels, so you at least want a window for everything to fit into. So Adjust the gain properly, by the input meter/PFL-Solo Meter, but if if you for example want to cheat the hi-hats or OH's down 3dB, and the vocals up 3dB, you're probably fine to do that as long as you're overall minding good gain staging practices. Not clipping... not threatening to clip... not being sandbagged at soundcheck and not leaving yourself any margin of error on the input levels. You might want to check out this gain video so you don't get sent down the wrong rabbit hole along the way: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-nsulprafYWU.html

@daveg4236 Год назад

Vocals are always on top. Never set faders equal because they never will be and can't be.

@dougaltolan3017 2 года назад

Then there's using monitor level to add "gain" to a weak vocal... Turn 'em down and they sing louder.

@AlanHamiltonAudio 2 года назад

Experience and psychology comes in handy sometimes. :)

@felipeachaval5540 3 года назад

Am I the only one who has a problem with how he says "filter"? It sounds like he says "filder"

@AlanHamiltonAudio 3 года назад

LOL... I can tell you the auto-voice to text runs close to 100% on getting "fliter" correct from my narration... But "sends" is a whole different thing! It gets it as "sins" probably 75% of the time when I check the subtitles.

@durgagupta6029 11 месяцев назад

HINDI ME BATAVE

@jonfredette 2 года назад

If you push your fader and immediately get feedback, you should rethink your system design. Destroying the audio fidelity of your system by notching feedback frequencies is only shooting your mix in the foot. You fix feedback with geometry, not EQ.

@AlanHamiltonAudio 2 года назад

Not necessarily true or definitely lacking context. Geometry is a part of it. But so is system response and room reflections and their impacts. The feedback could be a sign your system fidelity (AKA response) isn't exactly neutral. Loudest sound at the mic will always win. Physics plays a major role here. Volume will always feedback... eventually. Your system GBF needs to be optimized so you don't reach that level. Uneven response is uneven response. While moving a box or mic might help, that uneven response will still have the same peaky response that caused the feedback in the first place. Probably the most important factor, you can only do so much pre-show. The venue response will change when the crowd arrives. Also, the talent will almost invariably turn up, and either due to that, or ear fatigue, or both... musicians will request "more me" or more something in the monitors. While the house might have more of margin of error, precisely because of that 'geometry' (FOH speaker placement aimed at the crowd and more open spaces... maybe even flown high above the stage too), the monitors will be filling smaller spaces and already closer to the mics (assuming live wedges/sidefills and not IEMS). Therefore, those requests for monitor changes, if they go outside of the margin of error for GBF, are going to be addressed on the mix EQ or the channel strip. Nobody will be resetting mics or boxes mid-show... nor will the venue get a redesign and remodel mid-show.

@jonfredette 2 года назад

@@AlanHamiltonAudio yeah, man. But you're kinda picking the one example of a venue (small live venue) that illustrates your point as opposed to a large chunk of live sound: live theatre, outside venues, arenas, churches, etc. In the context of a small venue, where their priority is not audio fidelity, it's charging $9.50 for a Jack and Coke, to push 100dB, and volume of patrons. Those venues EQ isn't just necessary, it's damage control. And you said it yourself, "don't over EQ". Because it will feedback eventually. And when you notch and push, another frequency will feedback, and so on until there's nothing left. Now, I mostly agree with you. But I don't think an entire section of an industry that relies on the polar pattern of the SM57/8 to exist is the only example. At the end of the day, clarity and intelligibility is loudness. Notching out a system heads you in the other direction, though it is a necessary evil in the modern age of live music. All I'm saying is that a lot of issues in live can be solved before reaching for the EQ. Distance from mic to mouth, distance from mic to loudspeaker, and distance from loudspeaker to audience should all be considered before reaching for EQ out of a perfunctory response.

@moltenpros 2 года назад

@@jonfredette Obviously there is no one size fits all. The info given is great and your input is also good. No wrong answers here. Try not to be a tightwad.

@DocNo27 2 года назад

@@jonfredette And a lot of times you don't have the luxury of changing things like the loudspeaker position or how someone uses a microphone (despite years of trying!). One setting where EQ is fundamental to just about any venue: the mains. I followed a few of the many tutorials on how to ring out and EQ the mains in our room and it made a HUGE difference. Not only in the overall sound quality but also in dramatically reducing the tendency for feedback. I'm no pro, but what I was able to do in less than an hour made the overall system a lot more neutral and reduced a lot of issues we were previously having to address at the channel level. At some point we may even reach out to a pro to tune the room with a dedicated PA processor (basically fancy mutli-channel EQ with delays) to get it off console and reduce the risk of the processing getting changed, but for now I'm pretty happy with what I was able to achieve with so little effort. I think that's what is really key - yes, a lot of people overuse EQ. But conversely there are many times where EQ is absolutely the right tool (maybe the only practical too) for the right job. To me the most exciting feature of digital consoles is they often have the ability to record the raw, unprocessed signal for every channel in a multitrack recording, and then play them back later as if it's the raw signal coming into the inputs of the console. You can re-do everything in a mix including gain structure - it's an awesome practice tool. A lot of people refer to it as virtual sound check and some consoles like the X32/M32 make recording/playback literally a self contained one button affair if you have the expansion card with the SD card slots. I love that I can come back to the empty venue with no one else around and experiment with things like EQ, compression or other effects and get an actual feel for them based off of experience - which is probably the most important thing anyone interested in improving their mix can do. Yes, the room won't be exactly the same as if it is filled with people - but it's more than good enough to get within 80% for the vast majority of use cases. More importantly you will get more of a feel for how things like EQ and compression work so you can be more effective during a live show. If you have a digital console that has a way to do multitrack recording, I highly recommend using it and then practicing remixing an event multiple times. Try different things - practice setting the gain stage, try different EQ setting to see how it actually sounds, etc. It can be eye (ear?) opening and you have the freedom to be dumb without anyone else hearing what you are up to :)

@dougaltolan3017 2 года назад

@@jonfredette I think there are far more small venues and they are much busier than large ones. Not only that, but it's the larger venues that jack the drinks prices whereas the smaller ones are about the bands. New bands, inexperienced bands, bands that will never make a large show all need way more work than shifting stuff around will fix.

@durgagupta6029 11 месяцев назад

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@durgagupta6029 11 месяцев назад

HINDI ME BATAVE