As a worship pastor who’s running around trying to train volunteers and forming a team from almost scratch, thank you! This is so helpful for training and makes it understandable to the team. Keep it going!
Hey bud, I know this was a year ago. How are you mixing without the band live? This may be a dumb question. Also, if it's a recorded track is the recorded track flat in EQ? Sorry so many dumb questions.
In a situation like ours, where the drums are so close to the vocalists, there really is no post-production method that works very well. Gating is next to impossible to get right without sound unnatural. So we just do our best to minimize the bleed (e.g. no stage monitors, partial drum shields, etc).
If your band or vocals are struggling, you can at least help them sound a little better than they would with a bad mix 🤷♂️ We understand that it can def be a struggle when your band is comprised of volunteers, all at different skill levels. Sometimes you have to do your best with the mix and pray that they start practicing their musicianship a little more 😅
A mix is only as good as the source. Learn to get good sources first. An audio engineer (especially in a church setting) is not a producer. Your job is to take everything that is given to you and make it all heard and understood. No matter if it’s good or bad.
The old saying... A Sound Eengineer can Make or Break a Band... There is enough process gear to fix a lot of things... Not knowing how to use them .... Well... You see my point..
😂literally just about to say that. Much respect to the video but I have helped churches with live sound it’s wayyy more toooo it then this. Unfortunately they watch RU-vid and don’t talk about hey man we can’t sound like Hillsong because are singers are horrible and we have uncommitted band members smh 🤦🏾♂️. Excellent video though love the content!
Hello, on my QLXD, the volume is set at +5, and the gain on the X32 is set around 9 o’clock. Am I doing anything wrong? Is there any other preamp I should be looking at?
You should never boost with a notch filter to “search for problems”! First you are compromising your ears immediately. Those boosted frequency leave an imprint into your hearing. Second more often you may be creating the problem yourself by boosting frequencies that aren’t a problem until you boosted them. Thirdly, you have to work out the entire frequency spectrum as a whole. If you boost some lows you have to also boost highs to compensate for the psychoacoustic effect of perceiving too much of one range of frequencies.
Hi. May i know if low cut filter would work for vocal even though we do not have a subwoofer? Our church only has 2 12”speakers. Still praying for sub 😊
Or may i know what’s the suggested low cut filter hz? I guess the 120-180hz is for vocal with subs? Sorry im new and still learning a lot from your video :)
The low-cut filter would be the same even if you don't have subs. Your speakers are still trying to push out the low frequencies even though they hardly can. So it's wasting potential power from the speakers to be sending it low frequencies that don't matter.
The USB audio interface on the back of the mixers outputs 32 channels of raw audio. Configure your DAW accordingly to record tracks. As long as gain is correct on each channel, you'll get clean tracks.
I put the compressor after the EQ, so the mic's proximity effect doesn't cause compression when it's not needed. I like to use the Combinator on vocal.
Sounds much nicer!!! i do notice some kind of slight popping sound when the kick drum is hit harder than usual. Any simple way to clean that up? Limiter maybe? Or something with the compression?
Pretty much. Way easier to initially find your problem frequencies when it's solo'd. Then you can go and make adjustments while listening to it in context with the band.
Since you won’t always have the same lead vocal on every song in a set in a typical church service, how do you handle switching the reverb settings to ensure that your lead has more plate reverb and the backgrounds have more hall reverb? I have been setting them all roughly the same since the lead vocal changes so often. Is there a better way? I also use the x32, so it should translate well to my setup.
Another option, though more complicated, is using the assignable button to call up "snippets" you set that change which is the "lead" vocal for that song. We use the (4) user assignable buttons below the encoders to initiate Vocal 1, 2, 3, or 4 as the lead. The only parameters the snippet changes is the respective sends per FX bus.
We discussed doing this a while back, but ultimately decided not too. My thought was that it was too complicated for volunteers to remember to select it before each song and also to know which one to select. We have specific EQ and compression settings for each singer that we save in the library and assign it to that mic channel (along with their name) each week depending on who is singing. To then assign those to a snippet for someone to select before each song was more than we wanted to introduce for volunteers. Personally, I liked the idea, but doubt it would get used, so we have been setting the FX the same across all vocals.
I do not use gating on live vocals at our church. They are too close to the drums, which makes it next to impossible to get attack/release times to sound natural. If I was in a more controlled environment, it would probably be a different story.
@@collabworship what i mean is when you have multiple vocals singing at the same time, should i turn on the "automixer" function of each vocal's channels? which means they will have an auto gain dynamics depending on who has more emphasis of the voice so that the total decibel output wil be zero
Mix (paint) by numbers… and die by the numbers. Compression is more of an art and more fun when you understand what its doing to the shape of the sound over time. Your vocal just flatlined (technical term here)
I get that. I was more interested how YOU are going to place that into the context of a mix. Thats the art. Turn this up or turn this down a prescribe value before listening? Now what hasn’t been shown in this clip is any context of the song, so I don’t know. But the first thing in live mixing, either online or before a live congregation , is to establish a relative baseline mix before turning knobs. Who knows you may not even need a compressor or compress the vocal as much…. The most powerful control on your console is the fader.
Sounds like you have some great ideas! I bet there’s a group of people that would love your teaching style. Would love to see you start a RU-vid channel and create some content to help folks that are at the same point in the journey as you!
Given that it's being mixed in headphones, you could say stream mix. But we use a bus mix of our FOH mix for our live stream, so they're pretty similar. You can apply principles in this to both.
I watched a lot of useful videos. I'm in charge of sound at a church. I have a question, do I have to set the fader value to "0" and set the overall mixing with the gain value when mixing the volume of the vocals during the field service?
Great question. No, you do not have to set the fader at 0. However, if everything is configured correctly, you'll find your lead vocal hanging out around 0. But don't adjust channel gain to get there. If it is not hanging around 0, you need to adjust amp levels. Here's a video on that: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-SBn5-gx8MnI.html
Sounds like some are putting the boost too low. Anything 10kHz+ is not known to cause listening fatigue. But if you are boosting too much and affecting the 7kHz area, that would definitely cause fatigue.
@@collabworship Thank you Kade! Been learning a lot from your channel. In my case, we only have 2 lead singers. Male/female. Do you mind giving me guidance on how I should be applying levels for plate/hall? Do I just put the hall to a level that I can barely hear it? This would mean the plate should be really more audible first correct? I notice that in my hall, putting around 12 is when I hear it together with the live band. So this means my plate should be around what at least? I also notice that you don't really use delay on vocals, I tried it but I kinda didn't like it. Just want to hear your thoughts why you don't as well? Thanks Kade! You are awesome!
@@AKustik632 So you can do the same for both vocals then. Use more plate than hall on both. General rule of thumb is turn it up will you notice it and then dial it back to where it blends in (unless you want it to be more noticeable). Just mix in the hall 10db less than the plate. When adding the reverb to the channel, usually our plate lands around -10db on the fader and hall at -20db.
@@collabworship Kade thank you for being generous and kind with your knowledge! Quick question, I noticed that you don't use an always ON delay on vocals, may I know why? I don't either but I just want to know your reasoning to this. It might validate my reasons why haha
What would cause me to not hear anything coming through my effects when setting them up like this. They worked fine before then someone else ran sound then now I can’t hear anything through my reverb channels. They aren’t muted and see dialed in fine.
I think that you had set the attack on dyn vox soo fast and threshold soo much and sound is „compressed“ And this Is only my opinion. How I personally do: set the attack in region of 39-55 ms , depends of what vocal and how he works with mic, and release 70-90 ms). 4:07 P.s. and out gain set 3-4.5 db
Hey Kade, thanks for the video! I have a question regarding mixing with headphones, excuse the length of my question. 😅 I worry that mixing with headphones might mean that it doesn't translate well over onto the PA (I use Audio Technica ATH-M50x headphones, great earphones but they are not flat), so I wonder how do you manage that (with the headphones you have)? To try and workaround the frequency response graph of the ATH-M50x, I've thought of mixing through Ableton using Sonarworks SoundID (so the master EQ going out of the heaphone is flat) but I don't have the frequency response graph of the PA speakers we use (old Leem NTX-15 speakers), and because setup and breakdown every Sunday, I'd have to prepare (and ask relevant people) in advance to use the PA speakers so I can try to see if the mix translates well. I mean I could get a measurement microphone and measure it but I'd need a treated room for that, no? Perhaps you've been in that situation of "use what you have", so I wonder what your thoughts are regarding and handling such a situation?
Hey Tony - I do not use headphones to mix live, only in a studio environment. In a live setting, I still have headphones available, but only to occasional solo something out and hear what is going on with that specific channel. On your other questions, a treated room is ideal, but not reality for many. Either way - treated or untreated - EQing your room is still of benefit. More on that here: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-GFLB27a_t-U.html
