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gainmedialab
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Добавлен 1 янв 2018
The Future of Wireless Audio - It's BETTER Than You Think! | Sennheiser WMAS
Sennheiser presented their vision of the future of wireless audio, and it is awesome! Join me in exploring all the revealed details about the concept of Wireless Multichannel Audio System, how it functions, what are the benefits and some of its caveats. Let me know if this concept excites you in the comments!
If you want to learn more, here are some resources:
en-us.sennheiser.com/wmas (Official Press Release)
www.fcc.gov/ecfs/document/10327282164245/1 (Sennheiser materials for the FCC filing, made available to the public on the FCC site)
www.mixonline.com/business/mix-live-blog-wmas (mixonline.com article on WMAS)
Music: Silk by tubebackr is licensed under a Creative Commons License.
creativec...
If you want to learn more, here are some resources:
en-us.sennheiser.com/wmas (Official Press Release)
www.fcc.gov/ecfs/document/10327282164245/1 (Sennheiser materials for the FCC filing, made available to the public on the FCC site)
www.mixonline.com/business/mix-live-blog-wmas (mixonline.com article on WMAS)
Music: Silk by tubebackr is licensed under a Creative Commons License.
creativec...
Просмотров: 1 941
Видео
Behringer Wing IEM Setup - How to Add Communication Channels to Your Solo Bus on Behringer WING
Просмотров 3,3 тыс.Год назад
I have been programming the Behringer Wing console as my monitoring mixer and had to come up with a way to heat talkback communication channels from stage techs and FOH engineer through my earphones. In this video I explain how I routed those channels to the solo bus and talk about an additional Cue/Tech mix that the crew and me listen to during the shows. Sign up for my online course Guerrilla...
MMS 2022 Vlog | Revisiting a Festival
Просмотров 740Год назад
In this video I revisit the Melodije morja in sonca festival to show what improvements have been made from last year, how I use virtual soundcheck for working with performers, what gear was different and what were the RF signal challenges we were trying to solve this year. Sign up for my online course Guerrilla Mixing on Digital Consoles: gainmedialab.com/guerilla-mixing-course Website: gainmed...
Festival MMS 2021 - Mixing monitors | Vlog
Просмотров 8953 года назад
I mixed monitors for contestants of the 2021 Festival Melodije morja in sonca in Portorož, Slovenia. Check out the video for some insights and key takeaways from this gig, which I will definitely remember for the deafening cicada volume - I apologise for the noise, but there was no getting away from that in the auditorium! Using a Digico SD9, Digigrid MGB and Reaper for multitrack recording and...
Live Sound Summit 2021 AND we just hit 1000 SUBS!!! Woot woot!! | -20% on LSS tickets!
Просмотров 2823 года назад
Thank you, guys and girls, for helping me reach 1000 subs! Such an honour and a privilege. Celebrate with me at this year's Live Sound Summit, where I will be talking about How to help your clients transitions to IEMs. Plus, enjoy 3 days of premium content from presenters like Dave Rat, Robert Scovill, Ken "Pooch" Van Druten, Scott Adamson, Stephen Pavlik, Nathan Lively and many more. From June...
Siddharta - Equinox Live Stream (Noordung Center, Vitanje) - Vlog
Просмотров 7033 года назад
Behind the scenes look at a Siddharta Equinox Live Stream show. What a great time we had in Noordung Center in Vitanje, Slovenia, where the band performed a 90-minute set on 3 different stages inside the venue. After not working for so long, it was definitely a challenge, but it was also a great reminder why we love what we do so much! Using Behringer X32 consoles as stream mix and monitor mix ...
Long Time No Mix | Tips and Tricks For Getting Back in Live Sound Mixing
Просмотров 4533 года назад
Long Time No Mix | Tips and Tricks For Getting Back in Live Sound Mixing
Setting up Matrices for a FOH Session - Behringer X32
Просмотров 8 тыс.3 года назад
Setting up Matrices for a FOH Session - Behringer X32
Fire at the AKM Factory in Japan - Will It Affect Live Sound Industry?
Просмотров 2,3 тыс.3 года назад
Fire at the AKM Factory in Japan - Will It Affect Live Sound Industry?
5 Ways To Spot a Sound Engineer | Things Live Sound Engineers Do at Shows
Просмотров 3,5 тыс.3 года назад
5 Ways To Spot a Sound Engineer | Things Live Sound Engineers Do at Shows
Show Power - Online Course Introduction with Scott Adamson
Просмотров 2333 года назад
Show Power - Online Course Introduction with Scott Adamson
What EVERY GUITAR PLAYER Should KNOW About LIVE SOUND | Sound Advice - Guitar Players
Просмотров 6203 года назад
What EVERY GUITAR PLAYER Should KNOW About LIVE SOUND | Sound Advice - Guitar Players
Is THIS the BEST TOOL for live sound engineers? | Sound Bullet Review
Просмотров 6 тыс.3 года назад
Is THIS the BEST TOOL for live sound engineers? | Sound Bullet Review
Mixing Monitors - Siddharta Acoustic @ Sencur | Vlog
Просмотров 4573 года назад
Mixing Monitors - Siddharta Acoustic @ Sencur | Vlog
Pre / Post Fader IEM Mixing Console Setup | How to ACTUALLY MIX a Show for IEM Users
Просмотров 3,7 тыс.3 года назад
Pre / Post Fader IEM Mixing Console Setup | How to ACTUALLY MIX a Show for IEM Users
Mixing Monitors - Siddharta Acoustic @ Studenec Summer Theatre | Vlog
Просмотров 5153 года назад
Mixing Monitors - Siddharta Acoustic @ Studenec Summer Theatre | Vlog
FIRST GIG in SIX MONTHS! | A Tale of Hope
Просмотров 1273 года назад
FIRST GIG in SIX MONTHS! | A Tale of Hope
Full Drum Mix - Part 7: Parallel Compression
Просмотров 1,7 тыс.3 года назад
Full Drum Mix - Part 7: Parallel Compression
Full Drum Mix - Part 1: Intro and Overheads
Просмотров 2,6 тыс.4 года назад
Full Drum Mix - Part 1: Intro and Overheads
Do Channel Presets Work for Live Sound? | The Tale of Three Kick Drums
Просмотров 1,6 тыс.4 года назад
Do Channel Presets Work for Live Sound? | The Tale of Three Kick Drums
DCAs vs. Groups Explained | Organise your digital mixer for larger input channel counts
Просмотров 17 тыс.4 года назад
DCAs vs. Groups Explained | Organise your digital mixer for larger input channel counts
Faders at Zero vs. Mixing With Faders Explained | Input Gain Settings for Different Mix Techniques
Просмотров 48 тыс.4 года назад
Faders at Zero vs. Mixing With Faders Explained | Input Gain Settings for Different Mix Techniques
Best Headphones for Live Sound Mixing 2020 | How to Buy Headphones for Live Sound Use
Просмотров 8 тыс.4 года назад
Best Headphones for Live Sound Mixing 2020 | How to Buy Headphones for Live Sound Use
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!
❤❤❤❤❤
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
😂
It is ledena, legend, ledena
Great video! Which clips are byou using for the top and bottom sname mics? Thank you!
I believe they are both Audix clip mics.
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
Mr Deesi😊😊😊.... This is is rotimi😅
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?
Not sure what the issue is. Maybe try increasing the distance of both OH mics (placing them a bit higher can also help capture a bit more low end of the snare and kick).
@@gainmedialab Alright! It improved a bit but the cymbals and toms have very little stereo spread. I guess I should just live with that :c
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?
The techniques in the video explain the initial approach of console setup. I would not recommend drastic gain changes mid show. However, if you see a drastic change in your signal input between the sound check and the show, then adjusting gain can bring the mix back in check. Make sure those changes are as minimal as possible.
this is explained, if you have set the gain of the Guitar to -18dB and during the show he sends you a signal with 6dB more for example by improving it on his guitar and this generates at the same time the signal entering into dynamic effects, you probably need to reduce it to keep an optimal level. @@gainmedialab
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?
If the channels are routed to a group and then that group is routed to the master bus, it will affect both the group and the master mix.
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 😮
The link to the full video is in the description ;)
@@gainmedialab Glups!! Sorry, man!!
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
I agree on the innovation part. I am interested to see what Shure will develop as their system - according to the FCC filing data, they are working on a system that will require less bandwidth, but more power on air. However, I haven't seen any official releases from them about multichannel wireless solutions, so we will have to wait for that.
AMAZING INFO DUDEE!! Really looking forward to a future where I don't have to use Shure 2orkbench hahaha
I guess we will still be stuck with frequency coordination for some time, but I like where the industry is heading.
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
Hey, thanks for your comment. Could you elaborate on what you mean by “processing straight across it”? Not sure what you mean by that.
@@gainmedialab just using your words at about the 14:00 minute mark
not to mention, what if you have monitors? hence, live sound.
Aah, I see what you mean. If you have all channels coming in with the same input gain setting, regardless of the fader settings, then all auxiliary sends for monitors can be set much more easily, because you can reference levels between them for all channels (which works well on analog consoles and even better on digital consoles with sends on faders). When using the Faders at zero approach, the input levels will vary, so you cannot reference them for a quick setting.
@@gainmedialab if your post fade. which no one does if doing monitors from FOH
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.
Hey, DrummerCAS, with regards to certain notes that would work better from a sound engineer's POV- not really. There might be an occasional fundamental frequency of the room that is tuned to the same note as one of your drums that might then resonate in the PA system more, but you can't really predict that in advance. More importantly you should learn how to shorten/lengthen the resonance of the drum by adjusting the tension of the lower head with respects to the beater head - you can find tutorials on tuning drums on RUclips that can teach you that. Also, always have dampening agents ready - dampener, moon gel, etc. That can really help out if a room is very resonant. But the best thing you can do from a sound reinforcement point of view is just to have very reliable, constant hits. If you can play like that, dialing in your tone is going to be much easier for any sound engineer. Also, recognise when drum heads are dead and change them regularly. Hope this helps. Take care.
@@gainmedialab Thank you so much for your detailed reply! I see there are lot more to it than I thought. 🙂 Cool!
Thank you. Great advice.
You are welocome. Glad you enjoyed the content.
are there dcas in the aux channels? can i send dca to aux channel?
Since DCAs are not busses, you can’t send them anywhere. They just control the level of the main bus faders. However, if your auxes are set to post fader, moving the DCAs will affect the levels in auxes as well.