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Magic.

Very good!

Makes sense

Good advice. Anyone who refuses to put verb in the monitor mix when the artist asks for it is just plain wrong. As you stated, some people need reverb to get into their performance.

You hit all the major points!

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Nice video: let me ask you something. My understanding is that DCA’S being purely volume controls do change the resolution of sound by lowering the bit depth. In the analog scale 0 equals plus 4 dbu which gets you at about 22 bit depth which gives you good resolution. So having the faders at -10 to 0 gives you pretty good resolution. This tells me dca groups alter to a point the resolution of your sound if you go lower than -10. What about group sends? What do they play with? Cause I know it’s not just pure volume. Do they work more with gain than volume? Why is it better to mix using groups than vca’s to keep good resolution in the mix?

We cant see what you are doing

Perfectly described 👌🏻

I always sing with reverb

No effects in stage monitors for me. With all of the stage noise present audio mud is the last thing you need. if you are a talented singer don't rely on reverb/delay to improve your performance.

Thank you!!

Cerveja, cerveja, cervejaaa

Great video! Which clips are byou using for the top and bottom sname mics? Thank you!

Not only is this video unhelpful because it implicitly endorses poor gain staging habits, but it is also damaging to the audio community on the whole because it implicitly endorses poor gain staging habits. You, sir, fall squarely into the category of "know just enough to be dangerous". I find it ironic that the name of your channel is Gain Media and you haven't considered the implications of what the gain knob actually does. It is not my intent to sound harsh but rather - matter of fact. I suggest you remove this video from RUclips until you find out why @brucelmnop2043 is correct. Then you can make another video that will actually help the world.

I've seen some drummers and engineers comment that this is why they like the new Offset Eclipse Double Kick Pedal. It allows the kick and snare drum to be set up in a straight line, making the overhead placement very easy and obvious with good phase alignment.

Hey Ales, you can patch your solo bus directly into a matrix. It'll be cool to have an update video on this. I have my workaround for this workflow now but always looking for ways to improve things. Thanks for the video

Tq sir

Explanation 👌👌👌👌

wtf no, i tried this and one side picks up the attack of the beater and the other picks up the reso head making it more prominent on the one that picks up the beater. what should i do?

Perfect 👍🏼 You made my life much easier....

Okay, you make a lot of good points. Now, how can you have more than 5 adjustment points on the VEQ? Why cant you get a smaller Q setting on the GEQ? After all, this is all digital and SHOULD be more customizable.

Does the bus cause the volume to go up in addition to FOH. So would it be the main channels + the bus volume in the final mix ?

Sir teach gain structure on unlock mixer❤❤❤

This goes against everything ive ever learned or heard before...🤔and sounds like shit.🍻

Perfect, thank you!!

My personal experience- Ask them. Serve the performing musicians first and the audience second. If they want eq in their monitors, make it so. If they prefer pre EQ/pre fader in their monitors instead, trust their judgement. In most cases the vocalists tend to prefer post EQ and FX in their monitor while guitar, bass drums, keys prefer pre EQ/pre fader. The musicians are listening carefully to each other for musical cues and if there is too much change happening in the monitor mix the magic is lost. If you must do post EQ monitor sends, minimize all EQ and gain changes once your sound check is complete. Serve the performing musicians first.

What happens to floor monitors when you change input gain on channels mid show? How does the artist react when you change input gain midshow?

Fantastic video! I love the type of detail and presentation style

The benefit of being able to use presets on each channel for the eqs, compressors and gate thresholds etc is huge for me and why I always set all channel gain levels to the same level. There is always a little tweaking I have to do anyway,, but much less when Im already in the area. Whichever method you end up using you should stick with it so you become fluent with it so you can move quickly and achieve a good basic mix relatively fast.

Price

I use a both/and approach. I try to get the faders close to unity, but there are times when the physical amount of electrons being drawn through a microphone matters to the behavior of the microphone or the gain can mitigate a noisy signal and you need to focus your gain on that and adjust the levels in the processing and/or the faders. There are times when the gain doesn't matter so much and if you can just keep it from clipping, you're golden. The key is to understand what you are doing with your gain and your faders regardless of where you are on the spectrum between the two approaches.

Mixing with faders at zero seems kinda crazy to me -- you're pushing aesthetic things way too far back in the signal chain. For this heavily multi-track engineering, use gain only to match the trim of the inputs so you have as clean and strong a signal as possible (without clipping). You should really never mix using gain, since that was never the idea, but a lot of people do that based on how the tech developed over time. Set the console's gain when faders are all at zero, obviously, but all you're doing is amplifying or attenuating so you have clean, "equivalent" streams. The goal there is to overcome differences is microphones, cables, or direct boxes / inputs. Make everything in the cans for each channel sound like what you think it would sound like if your ear was where the mic physically is. That's what gain is for. After that, you can start mixing using faders -- that's what they're there for.

Had a question. If I set a group of channels onto a DCA, can it assist in affecting my mix for a mixbus, or does DCA only assist the master mix? I ask this, as my current situation is I have the faders all the way down for my drum set but I use them for my livestream mix. So by setting it onto a DCA group I want to know if it will help my increase the volume for my livestream mixbus?

That is not the way an A/B comparison should be done. If you add a soundsource two times to a mix you will end up with +6dB of gain. Of course that sounds better to your ears, than the original, which is much quieter! No one will ever be able to tell which version actually sounded better. You need to match the RMS-Level at least

I wish they were actual live drums, like from a concert multitrack recording, with bleed from the stage and pa

she's an easy lover (dun da dun) she'll get a hold on you belive it! (Dun da dun)

Accent sucks

So... The video ends suddenly 😮

Great

Thanks for the informative summary of Sennheiser's WMAS system. Here in Europe, all possibilities are already given to use the product when it is launched. The scene is very excited and expetcant. It is important to emphasize that we need more spectrum in the future for PMSE. After all, the old technologys will continue to exist alongside. Therefore, spectrum for PMSE must be secured at the 'World Radiocommunication Conferenec'!

This approach seems like it wouldn’t EQUALLY capture the cymbals at all.

This is exactly what we need in this industry! I work a lot with setting up WiFi networks and it always made me wonder why we’re not getting the same innovation consumer tech is experiencing. Shure is definitely taking a good step towards wireless audio

AMAZING INFO DUDEE!! Really looking forward to a future where I don't have to use Shure 2orkbench hahaha

I am using a DP-48. How do I get this functionality going through AES50?

is there an analog board that exists that you can do processing straight across it? spoiler alert, it doesn't. Even if it did, why would you want that? this is a terrible video for live mixing

Hi Ales, I haven't performed a lot so it's very usefull to find a detailed video like this one so I can be cool from the start 😄 For death metal and that sort of more extremely loud and noisy music, would you recommend certain notes for specific drum sizes (also intervals between each drum)? Can diffrent tunings prevent the feating? Is it easier for the sound engineer when toms are tuned to a specific note on the batter head and let's say a third on buttom head, or is better it's the same note? Any advice like this would be super helpful.

Thank you. Great advice.

are there dcas in the aux channels? can i send dca to aux channel?