Regarding the Subs on AUX vs external processor vs everything on mains debate... Unless you work at a single venue with a single configuration, you should absolutely know how to do them all... intimately. If you don't, it will come back to bite you in the posterior some day. I work in a 3rd world country, and most venue consoles are such garbage that I usually bring my own 6U X32 mini rack. The variations of mains & subs I run across means that if I didn't understand how to configure all these options on my console, I'd frequently be out of luck, so to speak. Worth noting that the mains, mono-center & matrices on Behringer / Midas / Wing boards have not just shelf style high / pass low pass options in the parametric EQ, but also Linkwitz Riley, Bessel and Butterworth options as well. These are the same three filter algos used in any number of external processors, so don't discount the abilities of your console... the Behringer family are far more competent than their price might suggest, and their crossover processing can definitely get the job done, no problems at all for most point source speaker systems.
Hi! Great Video! i have just a little issue with the Aux-fed subs. I believe that it could be better, even for beginners, to run the whole PA through a matrix that divides Main LR and Subs. In this way you don't need to worry about sending stuff to the subs and you just need to focus on getting a good tuning and a good mix.
Again Plus one on the DBX Driverack or similar controller solves the sub feed problem and others , these videos are a wealth of live audio production info THX
Excellent. Covers the exact system I own. Just upgraded with the live card for 32 channel recordings to SD cards. Found it handy to have 2 100 foot 1 50 foot, and one 25 foot Ethercon cables and 3 Ethercon connectors to enable cable to the stage box from 25 foot to 275 feet in 25 foot increments for almost any venue. One difference I was taught for noise level control for good S/N ration, is turn down all the speaker amplifiers, set the mixer for the nominal signal levels, then turn up the speakers for the venue as needed. It helps control feedback and if recording, produces nominal signal levels for recording and for the FX if used as the console is not run at very low levels, but always near the nominal sound levels when you trim inputs.
For small stages with no need for customizable monitoring, the monitors can be connected in parallel to save an amplifier channel and to exploit the most out of the amp (Most wedges are 8-ohm and most amplifiers support 4-ohm load. The nominal power output at 4 ohm is twice of the value at 8 ohm.) Same thing can be done to 8-ohm, single-speaker subwoofers. But for dual-speaker subwoofers whose impedance is normally 4 ohm don't try this. Paralleling will result in a 2-ohm load at the amp side, which will make the amp overload and explode. To be even more compact, a quad-channel high-power amplifer (e.g. FP10000Q) is enough to power a whole PA system with 2 to 4 tops, 2 single-speaker subs (or 1 dual-speaker sub) and 2 floor wedges.
Lol I was excited thinking finally a full video of setting d&b pa in English . But great video tho. I’m also a sound engineer using l acoustic , eaw and Meyer but I’m a huge fan of d&b, sadly the company I work with is already deeply invested in l acoustic
Sir, thank you from the U.S.A, huge fan of your work and your company. Question, would it be possible to make a video filming the back of a passive speaker line array and explaining the SpeakOn cable connections on that end? Please and thank you.
Hey thanks so much, Great suggestion! I've actually got a video in the works about hanging and connecting line arrays. Only problem with filming the back of a line array is that whenever I'm working with hanging line arrays then time is tight, and I can't usually stop and film. I'll try and get whatever footage I can just now and get a video out.
If im using 2 speakers and i have separate high and mids amplifiers and an amplifier for the subs, is there a need for a crossover, or i can connect the amplifiers directly to a stagebox.. which will consist of 6 outputs...??
My mics are getting readings but they wont come out my speakers, and they are hooked up Edit: i also have speakers hooked up but they work just fine (Pls help)
Hi Audio University, I have a question. Most of the time in live sound applications, the speakers sound distorted when the full band is playing. (Keys aren't hearable, bass sounds muddy, drums isn't clear) Do you know what causes this? When I test them alone it's fine and it sounds good. I also checked the amplifier and it's not clipping at all. My gain level on the digital mixer is always -18dbfs.
Hi, I could next time I'm around one. Is there a particular processor you're interested in seeing? What is it about the processor you would like to see?
Yeah, I think If and when I make this video again I'll go into more detail/ be morespecific, but if you turn the amp to unity then you can always turn the master down. But if you're running the amp low and you need more volume, you might push your mix bus harder/ compress/ limit/ distort to get the level. I'd rather have the headroom and use those elements creatively than have to use them to get to my desired volume. If that makes sense hah.
Awesome, I agree most of the time but for demonstration purposes that's what I did this time! I don't think any way is better but I'd love to hear your thoughts why external is better? There's a lot of ways to do it and There's a great video by Dave Rat about having control of subs. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-hpFK1XOZuUg.html
I was about to comment firstly to say thanks for another great video but also to ask how often you manage the system processing on the desk as opposed to an external DSP eg driverack or Galileo style box (for Meyer world)? Whilst I am still v new to live sound engineering side I would imagine preference is external so even mentally you can separate out the system tonality and level variance from the mixing itself but I guess it can often come down to budget and type of gig in terms of benefit gain from external v internal.
@@michaelanderson4265 interesting take. I can't say I agree with him. Ultimately if it gets the job done and gets everyone good mixes then it works. I don't like the bottom up approach, I prefer to use bus/ matrix EQ and processing and work back the way. Either way, if it works it works. thanks for sharing the video 😊
@@nickevansaudio Hey Nick, pretty spot on yet again. I did this mostly for demonstration purposes but that is actually how that venue is set up, with the crossover on the matrix. I'd say 90% of the time you're going to use a proper drive rack and processor. There's so many reasons to use them, nowadays manufacturers like d&b, l'acoustics and Meyer use amps with dsp and presets for each speaker that configure delays and impedance among other things. They're so much more than just a crossover that I would always recommend using the tools that the manufacturer specifies for the job. But yes, sometimes you get some speakers and some subs from another brand that come with a generic amp and you've got to put it together. I guess the aim of the video was to show how everything would together in that case. Hope that makes sense 😁
