Thank you, Drew. I'm a PreSonus audio guy but have been asked to take on some gigs at a venue using a Berringer x32. Your tutorials are extremely helpful. I also like your style of teaching. Staying on track but also adding context to us about when and why it's a good idea. I always say Compression is your friend. If done correctly, it sets you apart from others in the industry. I was very impressed with your use of compression on the Bass. I always use EQ as you do, but when I'm running a Berringer, I'm going to add compression. Now to see if I have an 1176A plug-in for my PreSonus 32SX. Keep the videos coming, and God Bless.
Hi Drew. Love the Tutorial. I just want to know if the bass was Coming from a DI or something else, and what kind of DI was used or whatever was used. Most DI Basses I have heard directly from the mixer even high-end Bass always sound doll in solo I was wandering if it's the DI . Cause yours has a little more High end content and a Good tone even Pre-EQ. What Brand of Bass is This ? Thank you and God Bless 😊
I'm using a PC with superrack, I'm sending our s16 AES50 stagebox to the pc via the x32's CARD OUT, doing my processing via superrack, then sending it back to the INPUT channels on the x32.... can I still send the unprocessed AES50 stagebox signals to our p16 ultranet boxes? So that they don't get the latency?
@DrewBrashler is there a way to record to the sd card but also have master effects recorded to the sd card as well? If so how to go about setting it up! Thx 🙏🏾
Thanks for this video. Would you recommend that we get a Behringer X32 and a DL32 (because of the Midas Preamps ) or the M32R Live + DL32. Is it worth getting the M32R Live over the X32? My concern is the length of future Software updates as I believe the M32R will likely get more years of update considering it was released 6-7 years later after the X32. Thanks
If you're going to use compression this dramatic on a vocal, and you don't have a dedicated monitors engineer, it's basically essential that you create separate FOH/Monitor channels for your vocal. Insert the 1176 on the FOH-bound channel and use no (or light) channel compression on the monitors-bound version. You can also make drastically different EQ curves to fight feedback from either sound system. This would probably be a great topic for this video series.
@@timnordberg7204 Don't you pretty much always just send the vocal pre-fader to the monitors? So before all processing? And then EQ the monitor itself to reduce feedback
"vocal forward mixer" Interesting way of saying it but I agree with the technique for live sound. Was this only a 3 person praise team plus the lead? It seemed like the soprano was higher than the alto and tenor parts.
I'll be trying that on bass, as I have the same issue. Likely pre-EQ, so I can tame the fuzz. (I tried the guitar preamp, but seemed to get nothing or too much, no middle ground.)
@@brettbrocoy3248 Honestly I think Leisure comp would be better for that. This way you get Ultimos on each vocal separately controlling the dynamics and then the slower Leisure comp to glue the vocal bus. It's a popular technique to compress vocals with 1176 and LA2A in this order
