A good friend was a long time commercial photographer. He liked to compare processing (be it video, audio or whatever) to a meal with really expensive/strong spices. Used judiciously and with care they can really take a meal to the next level. However if you overdue it you will quickly ruin the meal and would have been better off without them. Something I always try to constantly remind myself. Less is indeed more! Excellent videos - I'm really enjoying them!
Awesome videos Alan , worthy information. Last week we took this mixer for our small church without knowing basic info of digital mixer. By watching your videos I’m able to use the mixer. Thank you so much Love from India ❤️
This video does talk some about EQ settings for vocals and some basic concepts/techniques. Have you seen it yet? I probably could or should do another video and focus the entire video around vocal EQ though. ruclips.net/video/oP4sdpkkNhY/видео.html
Today's installment: Mixing Live Bass guitar... though some of this applies to studio stuff as well. Of course in the studio you don't have to worry about what room acoustics are doing to your mix in a constantly changing variety of gig venues. Getting the bass in the pocket can sometimes give people fits. The HPF can really help with this because sometimes you're already getting plenty low end off the stage, or the room/FOH speaker placement is adding low end to the point of muddying things. So you don't necessarily need the HPF set at or below the lowest bass guitar fundamental frequency. Just set to where it's not reinforcing what doesn't really need reinforcing in a certain situation. Adding low end to a bass, especially live, can just make that problem worse. Sometimes, just carving some things from the bass can make it sound bigger and/or clearer in the end. As always, please post any questions or comments here. Likes and comments helps to get RUclips to promote the video more. And sharing the videos is always appreciated too! ~~~~~~~~ ►Patreon Page where Patrons have access to script files, other PDF tutorials, Behringer X32/M32/XR18/MR18 channel and scene files, and other audio production information: www.patreon.com/AlanHamiltonAudio ~~~~~~~~ Tracks used in the video originally recorded on a Behringer X32 with a Behringer X-Live Card for tracking. ►►Amazon Affiliate Links To Equip Used/Shown/Mentioned In Video- ►Radial JDI Direct Box on Amazon: amzn.to/3fI6HFm ►Radial Pro DI Direct Box on Amazon: amzn.to/3xCiMmw ►Behringer X32 on Amazon: amzn.to/3d4rFM8 ►Behringer X-Live Multitrack Recording Card on Amazon: amzn.to/3xDa9YL ►Behringer XR18 on Amazon: amzn.to/2LfTpmO ►Cable Matters 2-Pack Premium XLR to XLR Microphone Cable on Amazon: amzn.to/3ciVrfI ►Stellar X2 (Narration Mic) on Amazon: amzn.to/3ggUWFq "As an Amazon Associate I earn from qualifying purchases." ~~~~~~~~ Suggested videos: ►Audio Compression 101: ruclips.net/video/1hyIQqw0fUg/видео.html ►►Other Mixing series videos: ►5 Tips for Better Live Vocal Mixes: ruclips.net/video/oP4sdpkkNhY/видео.html ►How to EQ a Kick Drum: ruclips.net/video/CQg1_-ZJ4MU/видео.html ►How to EQ a Snare Drum: ruclips.net/video/J_WC68vyht4/видео.html ►How to EQ Toms: ruclips.net/video/nSLJqnlJe60/видео.html ►►Popular videos: ►Five Typical Mistakes Made By Behringer X32 Users ruclips.net/video/tP7dO2Za6bw/видео.html ►Five Typical Mistakes Made By Behringer XR18 Users ruclips.net/video/EilVDp39A9g/видео.html ►►Recent videos: ►Cable Management For Live Audio: ruclips.net/video/nYZ9nrPGswo/видео.html ►Patch Order and Input Lists For Live Sound: ruclips.net/video/FE2KRj8vEEc/видео.html ►Building An In Ear Monitor Rig Using the Behringer XR18 or Midas MR18: ruclips.net/video/xT9gTBFxvZk/видео.html ►DCA's vs Subgroups on the XR18 / MR18: ruclips.net/video/x6TKam2F50Q/видео.html ►Behringer XR18 Monitor Setup Tutorial: ruclips.net/video/5gzsEErKdb8/видео.html ►Sending FX to Monitors XR18/MR18/X32/M32: ruclips.net/video/e_XsfTV36vU/видео.html ►In Ear Monitors On A Budget: ruclips.net/video/FOon2wEZss8/видео.html ►Behringer X32 Monitor Setup Tutorial: ruclips.net/video/Vz9E6FaCatQ/видео.html ►Top 5 Frequently Asked Questions About the XR18 (and MR18): ruclips.net/video/x9wciA2wFd0/видео.html ►Pro X Rack Assembly Instructions and Review: ruclips.net/video/kkt9lEnJ8nY/видео.html ~~~~~~~~~~~~~~~~~~~~~ ►Facebook Group: facebook.com/groups/livesoundproduction ~~~~~~~~~~~~~~~~~~~~~
Edit: especially since a lot of people are using helixes and such these days! Just saw your vid on mic placement! Could you also do a vid on EQ and compression for keys? I feel like that’s something that muddies up a mix as well
Thanks! I'd been planning this one for a while, but was going to have to play the bass myself and just use programmed drums... and that would add to the time to make it. But then with the resumption of shows this summer, I tracked some things and finally got the tracks in the studio setup so I could see if I had anything usable for videos. And I quickly realized these tracks were perfect for a bass guitar mixing video, and complete with a real drummer, locked in with the bass player onstage. Real world examples...
@@AlanHamiltonAudio, some really good info for newer Audio Techs. Cleaning up the Bass channel is so easy on newer digital boards and makes a HUGE difference .
I debated on whether to turn the RTA on or not. I was afraid it might confuse/distract some people, especially since the material was presented as cross platform information and some people won't be on a Behringer and have an RTA. I probably should've turned it on and off a few times, and just noted that option is on a Behringer.
I would love to see what you suggest for a timba/merengue band where you often have the lower notes from a five-string bass or a babybass - and the tricky combination with a conga player.
That's one I'd just have to hear and figure it out at soundcheck. I know what I think I might do... Mellow the attack, maybe scoop some low mids. And before that, play with the HPF to get it sitting in the room/mix properly.
Hey Alan another great video..im gonnna use the xr18 for the very first time this saturday for practise and sunday for our live worship. we are currently in a hall surrounded by hardwood flooring and tall ceiling. I wonder if you have any tips for this kind of venue? we are small church about 50ppl and I actually just bought a used subwoofer and was wondering where to put that also. Cheers!
It's always good to get some height on your speakers. In a perfect world, a lot of height and a downward tilt, to make sure the sound hits the listeners first and foremost, and not the walls. But, also, make sure your speakers are high enough, even if on stands or wall mounts, that the highs aren't just blocked by the first row or rows of people. Sometimes, smaller rooms are more problematic than large rooms. Just because you cannot get much distance from the mics and the speakers, and because speaker placement options can be limited. And moderate stage volume in a large room could be really excessive in a small room if the musicians don't adjust. Don't think your (house) speakers HAVE to be tight to the stage. They can be spread wider (this should help mitigate feedback potential because it's putting more air between your mics and the the speakers). Just make sure they are aimed to hit the listeners. So maybe if they are out wider, they needed a little angle inward. But don't do too much and negate the width by turning them too much into the mics. But technically, they should already be a little in front of the mics no matter where they are in width compared to the stage. If you have a pastor that likes to walk around with a handheld, a lav, or an earset mic, then the wider distance will help there too. As will getting some height. Although, when I say 'height' if you have no down angle adjustment, then about 7' or so is about your max or you'll start getting diminishing returns. As for the sub, if the room allows, just center it. If not, you'll generally be OK to place it to one side of the stage near one side of the other's speaker. Just make sure to cross it over low enough that the signal is more or less omni-directional. Hard to tell you without hearing and measuring what is best, but I'd probably try 90-100Hz if I was just guessing.
Thank you for this tutorial, what is your routing options for the bass, do you route into the sub and FOH speakers. If you are recording Live, does the same setting apply.
Thanks! I do usually have the bass guitar routed separately to subs and tops for FOH. As for recording, essentially the same rules apply but you can be a little more creative in the studio, and some of the things I might do with a HPF could be different in the studio. Mainly, in the studio, what is going to 'tape' (DAW) is the complete bass guitar sound that listeners will hear. Live, there's going to be a lot of stage wash from the bass guitar in a lot of venues and with a lot of bands and that will have to be mixed around if it's already loud enough in some frequency ranges. In bigger venues, that is less of an issue.
From a show this summer. I'd tracked it onto the SD Cards in the X-Live in the Behringer X32. So, I had some instrument tracks, recorded pre-everything except the preamp, that I could use for this purpose.
@@benjdave24 Have you seen this video about using Reaper (DAW) with the XR18? I only have the PC version so that is what is demonstrated in the video, but Mac should be similar if that is what you have. ruclips.net/video/xYmJGyroVe0/видео.html
@@benjdave24 You can use Reaper to track a live show from the XR18... and track it just after the preamps so that you can bring he raw tracks back in later and do virtual soundchecks, or practice mixes, just like as if the real band was there (minus the stage volume of course ;) ).
I'm curious about your thoughts one the relationship between bass eq at the board and the Mains/Subs. I play in a group that, even with a dialed in bass tone, always feels like it is washed away by an extraordinary amount of low end energy. I mean, I love the low end, but there is a limit. I want to hear the notes! Is it a crossover issue, a speaker volume issue, or, maybe the bass settings aren't as good as I think they are.
Kind of hard to say because the sound system could be working as designed and it just has an exaggerated (overall) low end by intention... Or it could be that there's a specific frequency (or range) boosted too much on the system EQ... or the opposite and cut too much (LEAVING something essentially 'boosted' by the nature of what is 'gone' (cut). If MP3/WAV/CD music sounds like it should then the system is probably dialed in OK. In that case, it's just a matter of tweaking the HPF (low cut) on the bass guitar channel. It could be a room issue too where the PA is exciting a low end or low mid frequency (or frequencies) in the room. You'd be able to tell that if the problem only seems to happen in some venues. That assumes the problem is coming from the PA. It COULD be the bass guitar onstage. Cab too close to a boundary, or worse, 2 boundaries (like in a corner) and it's the sound from the stage muddying the bass guitar more than the PA. And secondarily to that, just too much bass/low end boosted on the bass guitar (or too much in the way of mids being cut and to 'hear' the bass better the level is then turned up, bringing up the excessive low end. The sound might work good in solo, but when the band is playing it causes the bass guitar to get lost because of the lack of clarity. IOW, it can't cut thru the other stage sounds. Sheer volume can 'seem' to help it be heard, but it creates or exaggerates the other issue of excessive low end. And you can kind of get to that issue either by low end boosting, or mid/mid-hi cutting. The tough part is, it could be one or all of those things in combination. So, one thing alone might not solve it. Just listening to the bass guitar either by itself, or with the band, or even both ways, with the PA off can also answer some questions. But the quickest place to look in a pinch when the show is rolling is the channel HPF (low cut) and trying a higher roll off frequency.
This definitely sounds more of a room issue, I struggled with this for a long time. I think you should experiment with the high pass filter on the bass guitar and the kick channels. Outside/big open spaces might only require say a 40hz high pass or none at all but inside (especially small rooms) might require up to an 80hz high pass to control the low end. Also, for the bass guitar to stand out more in a live mix I tend to give a good boost around 800-1khz.
Yes, if it seems that the bass and kick are clashing and muddying up the mix, and it's primarily the bass guitar creating the issue. Although, the bass rolloff might also work (HPF).
Just set the Bass HPF a little higher than the kick and you’ll hear a huge difference. It has helped me a lot when mixing FOH. Use your ears and don’t go to much!
I recorded the band originally on an X32 via the Live card. Straight after the preamps so nothing was done to the signal at the time of recording. I then loaded the tracks into Reaper and fed that to the XR18 for the audio demo of the bass I used in this video. Essentially used the process as outlined in this video: ruclips.net/video/xYmJGyroVe0/видео.html
I saw this video, I just got confused about mixing my accoustic drums, I need it on Stereo busses like yours, can I get references?? I was controlling drums by DCAs, but it doesnt glued properly.... And also I need to know how to using sidechain compressor, people said this can help to reducing volume between kick and bass... Thank you.
Here is the video about subgroups and DCAs on the XR18/MR18: ruclips.net/video/x6TKam2F50Q/видео.html Here is the same basic topic for the X32/M32: ruclips.net/video/iVZC2eJhXNE/видео.html
Pretty much. The same basic rules of EQ will apply... but you might find you need a higher HPF setting, depending on how dynamic your playing is and how well (or not) your earbuds handle low end. It might be a case where you like a little more compression too. But I'd get the basic EQ sorted before stressing too much about compressor settings.
Good suggestion! I did do one on guitar amp mic'ing, but I do need to do a full video on more than just the mic'ing part. ruclips.net/video/GBTyFxxNNBE/видео.html
Thank You. I use a small hall for worship and most times the bass amp gets too loud and covers the house. Can I just Use Di box direct from the bass or speaker out on the amp
Yes, although make sure the DI you choose has a pad switch that allows for a speaker level input on it if you're going to connect to the speaker out of the amp. Otherwise just take it direct to the DI from the bass guitar, or the line level out of the bass amp.
There's no 'right' answer here because either 'can' work. It kind of depends on what you're going for. And how you do things as far as settings. If you put the comp before the EQ, then if you use heavy EQ the comp can't necessarily keep your overall frequency range in the pocket... since there will be peaks and valleys after what the comp has already worked on. But you 'might' like that... If you put the EQ before the comp, then it will be able to better control notes trying to jump out or fall back due to EQ boosts or cuts. Especially if you tend to do heavy EQing and get aggressive. I'd say if you're just looking for a general rule of thumb, I'd say comp after EQ on a pedalboard. But that is by no means carved in stone. If you can't convince yourself of a reason to put the comp before the EQ, and trying it doesn't make you go "Wow, I like that much better!"... then definitely land on putting the comp after the EQ on the pedalboard.
I did a video about guitar mic'ing (actually one on electric and an older one on acoustics), but haven't done a full video about guitar EQ per se'. Elect gtr mic technique video: ruclips.net/video/GBTyFxxNNBE/видео.html
If you want rock solid bass without the usual muddiness... stop running your subs off a crossover from the main outputs. Instead, run the subs off a separate crossover, or simple low pass filter, from a post-fader Aux. Then ONLY bring that Aux up for the bass guitar, bass and lowest (largest) toms, and keyboards. Nothing else needs to go to a sub set at 160 Hz (or even 180 Hz or 250 Hz if that is where your subs are set). That eliminates ALL the garbage out of the sub that should NOT be there. You could also use the mono master output, but that is usually only available on large mixers. Same using a subgroup, and NOT adding it to the mains... but usually they are already taken up. However, the easiest is a post-fader Aux. It is easy to check that only the proper channels are headed to the subs. And, you can adjust ALL the low registers up or down depending on the room conditions. Just remember, when you are adjusting the mains up during the night, you also have to bring up the sub Aux.
Aux fed subs is a great tool to have in your bag of tricks to clean up system mud. But, people need to remember to still use their HPF and EQ as they normally would... even if they aren't sending those channels to the subs. In the case of EQ, some people get into the 'bad' habit of adjusting the sub send when they should be adjusting the low end EQ instead. And in the case of HPF, taking that mud out of the channel strip can still help things like the compressor be more accurate not having to deal with excess low end.... And of course, when mons are FOH, that HPF is still handy. Or when the mons are Post EQ. But the main thing for those two points is to make sure any stream mix or broadcast mix, or two track recordings (coming from the house console), get a properly EQ'ed and balanced mix. Which, as long as aux fed subs are utilized properly, they will... But sometimes people assume there's no need in using then HPF since the aux fed subs makes it inaudible... in the house PA... But if the house PA is not the only place the signal is going, then it's still helpful if not necessary for the mix to translate to other sources.
@@AlanHamiltonAudio Absolutely!!! All the channels that do not have frequencies in the sub woofer range should always have the HPF in. Regardless of what crossover you use, or what db per octave it is set for... there is always bleed through. That is the biggest advantage of an Aux driven sub, if it is used correctly. There cannot be bleed through, because the signals are not present on the send!!! The HPF's are that much more insurance that stage rumble and mic drops and idiots tapping the mic to see if it is on and such does not get into the woofers of the tops. In fact, the HPF's are really helpful on vocal channels with a board utilizing Aux driven subs. You can boost the channel's bass control, and really get some drive in the vocals... without risking or worrying about them getting muddy. It does not work as well with subs off the mains though, again the bleed through to the subs. And, to keep all ranges crystal clear... I always had a crossover in-line with the reverb and the delay units. Run in the first channel and set the crossover for 600 Hz. Take the high output of that channel into the second channel, and set the crossover for 6,000 Hz. Take the low output of that channel as the input for the reverb or delay unit. You have now limited the input to 600 - 6,000 Hz. Or, if the crossover can be set for three-way, you could use the mid output for the same thing. It is amazing how much cleaner the reverb and delay sounds!!! BUT... that is all old-school analog mixer with off-board compression and effects (Allen & Heath 56 channel with 8 subgroups 10 Aux sends, 12x4 matrix mixer, and L and R and M main buses). A digital board... I'd be lost. I'd be lost anyway. After ten years on the flight-line in the Air Force, and decades of live sound... my hearing is crap. The graph looks like a crossover with a roll-off at around 1,800 Hz :( Had to finally give it up because, even with hearing aids, I could not hear high frequency feedback :( Keep putting these videos out there. They have good info!!! And, digital is the way to go. None of the manufacturers are selling big format analogs anymore.........
@@jtmusiclessons21 In this case, X32/M32 with X-Live card installed which lets me record 32 tracks to SD Card(s). So, I recorded a show and then used the tracks for demo purposes. I could've done the same with a DAW and a laptop if I didn't have the X-Live cards.
Why would you have the fader up at all while adjusting the gain??? On my old (analog) Allen & Heath GL2800-856, I could and would set up all the channels, and even the subgroups, with nothing coming out of the mains. The gain is set to provide the channel with the highest input level possible without distortion, which also provides the best signal-to-noise ratio (and Allen & Heath liked HOT signals... +3 to +6, peaking at +9, and occasionally hitting +12). When ALL the channels were flashing the reds just a little, the board was set perfect. "Playing" with the gain during a performance effects everything for the channel, including all the Aux sends. Once the gain is set, it should not be adjusted again during the night. Unless, of course, some fricking idiot decides to crank his amp up on stage (which someone ALWAYS seemed to do). The fader is only there to control the level of a channel in the output.
A good friend was a long time commercial photographer. He liked to compare processing (be it video, audio or whatever) to a meal with really expensive/strong spices. Used judiciously and with care they can really take a meal to the next level. However if you overdue it you will quickly ruin the meal and would have been better off without them. Something I always try to constantly remind myself.
Less is indeed more!
Excellent videos - I'm really enjoying them!
Hands down one of the best tutorial video on bass production. Thank you very much for the amazing tips.
Thank you!
Sounds bad ass
Lots of bass
That kick sounds amazing
Thanks!
Your simplicity has made mixing extremely fun.
You leave windows for people to explore.
And experiment I have. :D
Thanks!
Awesome videos Alan , worthy information. Last week we took this mixer for our small church without knowing basic info of digital mixer. By watching your videos I’m able to use the mixer. Thank you so much
Love from India ❤️
Thank you! I'm glad the videos have helped you. 🙂
@@AlanHamiltonAudio Hi Alan. if possible, could you please make a video on vocal EQ settings( for singing and speech)
This video does talk some about EQ settings for vocals and some basic concepts/techniques. Have you seen it yet? I probably could or should do another video and focus the entire video around vocal EQ though.
ruclips.net/video/oP4sdpkkNhY/видео.html
Idea for another Mixing video: How to mix electric guitar that's using a Multi-Effects (i.e., Line 6 Helix) unit direct into the PA instead of an amp.
Yell at him because all his patches are different gain structures, then eq it flat to not color his sound
The Video as was waiting for ... Thanks Master
Thanks!
Absolutely amazing, I love love sound great explanation with perfect information
Thanks!
Today's installment: Mixing Live Bass guitar... though some of this applies to studio stuff as well. Of course in the studio you don't have to worry about what room acoustics are doing to your mix in a constantly changing variety of gig venues. Getting the bass in the pocket can sometimes give people fits. The HPF can really help with this because sometimes you're already getting plenty low end off the stage, or the room/FOH speaker placement is adding low end to the point of muddying things. So you don't necessarily need the HPF set at or below the lowest bass guitar fundamental frequency. Just set to where it's not reinforcing what doesn't really need reinforcing in a certain situation.
Adding low end to a bass, especially live, can just make that problem worse. Sometimes, just carving some things from the bass can make it sound bigger and/or clearer in the end.
As always, please post any questions or comments here. Likes and comments helps to get RUclips to promote the video more. And sharing the videos is always appreciated too!
~~~~~~~~
►Patreon Page where Patrons have access to script files, other PDF tutorials, Behringer X32/M32/XR18/MR18 channel and scene files, and other audio production information:
www.patreon.com/AlanHamiltonAudio
~~~~~~~~
Tracks used in the video originally recorded on a Behringer X32 with a Behringer X-Live Card for tracking.
►►Amazon Affiliate Links To Equip Used/Shown/Mentioned In Video-
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►Behringer X32 on Amazon:
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►Behringer XR18 on Amazon:
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"As an Amazon Associate I earn from qualifying purchases."
~~~~~~~~
Suggested videos:
►Audio Compression 101:
ruclips.net/video/1hyIQqw0fUg/видео.html
►►Other Mixing series videos:
►5 Tips for Better Live Vocal Mixes:
ruclips.net/video/oP4sdpkkNhY/видео.html
►How to EQ a Kick Drum:
ruclips.net/video/CQg1_-ZJ4MU/видео.html
►How to EQ a Snare Drum:
ruclips.net/video/J_WC68vyht4/видео.html
►How to EQ Toms:
ruclips.net/video/nSLJqnlJe60/видео.html
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ruclips.net/video/nYZ9nrPGswo/видео.html
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►Building An In Ear Monitor Rig Using the Behringer XR18 or Midas MR18:
ruclips.net/video/xT9gTBFxvZk/видео.html
►DCA's vs Subgroups on the XR18 / MR18:
ruclips.net/video/x6TKam2F50Q/видео.html
►Behringer XR18 Monitor Setup Tutorial:
ruclips.net/video/5gzsEErKdb8/видео.html
►Sending FX to Monitors XR18/MR18/X32/M32:
ruclips.net/video/e_XsfTV36vU/видео.html
►In Ear Monitors On A Budget:
ruclips.net/video/FOon2wEZss8/видео.html
►Behringer X32 Monitor Setup Tutorial:
ruclips.net/video/Vz9E6FaCatQ/видео.html
►Top 5 Frequently Asked Questions About the XR18 (and MR18):
ruclips.net/video/x9wciA2wFd0/видео.html
►Pro X Rack Assembly Instructions and Review:
ruclips.net/video/kkt9lEnJ8nY/видео.html
~~~~~~~~~~~~~~~~~~~~~
►Facebook Group:
facebook.com/groups/livesoundproduction
~~~~~~~~~~~~~~~~~~~~~
Always a big pleasure to watch your videos.
Thank you for watching and commenting!
Hey Alan, do you think you could put together mixing tips for Electric Guitar and compression with Rhythm and Lead?
Edit: especially since a lot of people are using helixes and such these days! Just saw your vid on mic placement! Could you also do a vid on EQ and compression for keys? I feel like that’s something that muddies up a mix as well
Nice Video Alan.
Thanks! I'd been planning this one for a while, but was going to have to play the bass myself and just use programmed drums... and that would add to the time to make it. But then with the resumption of shows this summer, I tracked some things and finally got the tracks in the studio setup so I could see if I had anything usable for videos. And I quickly realized these tracks were perfect for a bass guitar mixing video, and complete with a real drummer, locked in with the bass player onstage. Real world examples...
@@AlanHamiltonAudio, some really good info for newer Audio Techs. Cleaning up the Bass channel is so easy on newer digital boards and makes a HUGE difference .
Very thorough! Excellent tutorial.
Thank you!
Great video
Thank you!
Thanks for the video..
Please always turn on RTA so we can also also understand better
I debated on whether to turn the RTA on or not. I was afraid it might confuse/distract some people, especially since the material was presented as cross platform information and some people won't be on a Behringer and have an RTA.
I probably should've turned it on and off a few times, and just noted that option is on a Behringer.
So clever video!! Thank you very much Mateee
Thank you!
awesome vid
Thank you!
I would love to see what you suggest for a timba/merengue band where you often have the lower notes from a five-string bass or a babybass - and the tricky combination with a conga player.
That's one I'd just have to hear and figure it out at soundcheck. I know what I think I might do... Mellow the attack, maybe scoop some low mids. And before that, play with the HPF to get it sitting in the room/mix properly.
Hey Alan another great video..im gonnna use the xr18 for the very first time this saturday for practise and sunday for our live worship. we are currently in a hall surrounded by hardwood flooring and tall ceiling. I wonder if you have any tips for this kind of venue? we are small church about 50ppl and I actually just bought a used subwoofer and was wondering where to put that also. Cheers!
It's always good to get some height on your speakers. In a perfect world, a lot of height and a downward tilt, to make sure the sound hits the listeners first and foremost, and not the walls.
But, also, make sure your speakers are high enough, even if on stands or wall mounts, that the highs aren't just blocked by the first row or rows of people.
Sometimes, smaller rooms are more problematic than large rooms. Just because you cannot get much distance from the mics and the speakers, and because speaker placement options can be limited. And moderate stage volume in a large room could be really excessive in a small room if the musicians don't adjust.
Don't think your (house) speakers HAVE to be tight to the stage. They can be spread wider (this should help mitigate feedback potential because it's putting more air between your mics and the the speakers). Just make sure they are aimed to hit the listeners. So maybe if they are out wider, they needed a little angle inward. But don't do too much and negate the width by turning them too much into the mics. But technically, they should already be a little in front of the mics no matter where they are in width compared to the stage.
If you have a pastor that likes to walk around with a handheld, a lav, or an earset mic, then the wider distance will help there too. As will getting some height. Although, when I say 'height' if you have no down angle adjustment, then about 7' or so is about your max or you'll start getting diminishing returns.
As for the sub, if the room allows, just center it. If not, you'll generally be OK to place it to one side of the stage near one side of the other's speaker. Just make sure to cross it over low enough that the signal is more or less omni-directional. Hard to tell you without hearing and measuring what is best, but I'd probably try 90-100Hz if I was just guessing.
@@AlanHamiltonAudio thank so much and we will definitely try our these ideas!
Thank you for this tutorial, what is your routing options for the bass, do you route into the sub and FOH speakers. If you are recording Live, does the same setting apply.
Thanks! I do usually have the bass guitar routed separately to subs and tops for FOH.
As for recording, essentially the same rules apply but you can be a little more creative in the studio, and some of the things I might do with a HPF could be different in the studio.
Mainly, in the studio, what is going to 'tape' (DAW) is the complete bass guitar sound that listeners will hear. Live, there's going to be a lot of stage wash from the bass guitar in a lot of venues and with a lot of bands and that will have to be mixed around if it's already loud enough in some frequency ranges.
In bigger venues, that is less of an issue.
great vídeo,, thanks..
Thank you too!
Good video! Do you have an eq/compression summary sheet for all instruments?
@Producelikeapro has a good resource:
producelikeapro.com/blog/eq-cheat-sheet/
Hi Alan....where are you getting your recorded mix to eq the bass guitar? Thanks
From a show this summer. I'd tracked it onto the SD Cards in the X-Live in the Behringer X32. So, I had some instrument tracks, recorded pre-everything except the preamp, that I could use for this purpose.
Alan how can I record live session on XR18 to do practice mix after recording? Thanks..
@@benjdave24 Have you seen this video about using Reaper (DAW) with the XR18? I only have the PC version so that is what is demonstrated in the video, but Mac should be similar if that is what you have.
ruclips.net/video/xYmJGyroVe0/видео.html
Is reaper good also for Broadcast live at the same FOH? thanks
@@benjdave24 You can use Reaper to track a live show from the XR18... and track it just after the preamps so that you can bring he raw tracks back in later and do virtual soundchecks, or practice mixes, just like as if the real band was there (minus the stage volume of course ;) ).
I'm curious about your thoughts one the relationship between bass eq at the board and the Mains/Subs. I play in a group that, even with a dialed in bass tone, always feels like it is washed away by an extraordinary amount of low end energy. I mean, I love the low end, but there is a limit. I want to hear the notes! Is it a crossover issue, a speaker volume issue, or, maybe the bass settings aren't as good as I think they are.
Kind of hard to say because the sound system could be working as designed and it just has an exaggerated (overall) low end by intention... Or it could be that there's a specific frequency (or range) boosted too much on the system EQ... or the opposite and cut too much (LEAVING something essentially 'boosted' by the nature of what is 'gone' (cut).
If MP3/WAV/CD music sounds like it should then the system is probably dialed in OK. In that case, it's just a matter of tweaking the HPF (low cut) on the bass guitar channel.
It could be a room issue too where the PA is exciting a low end or low mid frequency (or frequencies) in the room. You'd be able to tell that if the problem only seems to happen in some venues.
That assumes the problem is coming from the PA. It COULD be the bass guitar onstage. Cab too close to a boundary, or worse, 2 boundaries (like in a corner) and it's the sound from the stage muddying the bass guitar more than the PA. And secondarily to that, just too much bass/low end boosted on the bass guitar (or too much in the way of mids being cut and to 'hear' the bass better the level is then turned up, bringing up the excessive low end. The sound might work good in solo, but when the band is playing it causes the bass guitar to get lost because of the lack of clarity. IOW, it can't cut thru the other stage sounds. Sheer volume can 'seem' to help it be heard, but it creates or exaggerates the other issue of excessive low end.
And you can kind of get to that issue either by low end boosting, or mid/mid-hi cutting.
The tough part is, it could be one or all of those things in combination. So, one thing alone might not solve it.
Just listening to the bass guitar either by itself, or with the band, or even both ways, with the PA off can also answer some questions.
But the quickest place to look in a pinch when the show is rolling is the channel HPF (low cut) and trying a higher roll off frequency.
This definitely sounds more of a room issue, I struggled with this for a long time. I think you should experiment with the high pass filter on the bass guitar and the kick channels. Outside/big open spaces might only require say a 40hz high pass or none at all but inside (especially small rooms) might require up to an 80hz high pass to control the low end.
Also, for the bass guitar to stand out more in a live mix I tend to give a good boost around 800-1khz.
Do you ever use a PEQ to drop the bass around the frequency where you boost the kick drum (60-80 hz)?
Yes, if it seems that the bass and kick are clashing and muddying up the mix, and it's primarily the bass guitar creating the issue.
Although, the bass rolloff might also work (HPF).
Just set the Bass HPF a little higher than the kick and you’ll hear a huge difference. It has helped me a lot when mixing FOH.
Use your ears and don’t go to much!
Good morning mr if possible can you send me the scenes for this mix many thanks
How were you getting the bass signal? I mean I get that it is recorded but how do you send the signal from DAW?
I recorded the band originally on an X32 via the Live card. Straight after the preamps so nothing was done to the signal at the time of recording. I then loaded the tracks into Reaper and fed that to the XR18 for the audio demo of the bass I used in this video. Essentially used the process as outlined in this video:
ruclips.net/video/xYmJGyroVe0/видео.html
I saw this video, I just got confused about mixing my accoustic drums, I need it on Stereo busses like yours, can I get references??
I was controlling drums by DCAs, but it doesnt glued properly....
And also I need to know how to using sidechain compressor, people said this can help to reducing volume between kick and bass...
Thank you.
Here is the video about subgroups and DCAs on the XR18/MR18:
ruclips.net/video/x6TKam2F50Q/видео.html
Here is the same basic topic for the X32/M32:
ruclips.net/video/iVZC2eJhXNE/видео.html
Dumb new user question, can this also be applied with your IEM”s
Pretty much. The same basic rules of EQ will apply... but you might find you need a higher HPF setting, depending on how dynamic your playing is and how well (or not) your earbuds handle low end.
It might be a case where you like a little more compression too. But I'd get the basic EQ sorted before stressing too much about compressor settings.
Hi 👋🏼 Al. 🙋🏻♀️
Hey Cindy! 🙂
hi, we're waiting for GUITAR video xP Thankssssssssssssssssssssss
Good suggestion!
I did do one on guitar amp mic'ing, but I do need to do a full video on more than just the mic'ing part.
ruclips.net/video/GBTyFxxNNBE/видео.html
Hi Sir, How do we mix live pianos too?
Acoustic or electric/synth/sampled?
@@AlanHamiltonAudio Yes please! We have digital piano.
👍
Is there analog tuning
What can I do with mixing with an extra Bass di channel?
Thank You.
I use a small hall for worship and most times the bass amp gets too loud and covers the house. Can I just Use Di box direct from the bass or speaker out on the amp
Yes, although make sure the DI you choose has a pad switch that allows for a speaker level input on it if you're going to connect to the speaker out of the amp. Otherwise just take it direct to the DI from the bass guitar, or the line level out of the bass amp.
Thank You.
However, since I have an in ear with a dedicated bus channel for the bass guitar.
Is the bass am still necessary?
@@eugeneanyanebechi4138 Bass "am"?
@@AlanHamiltonAudio Bass Amp(bass combo)
EQ before Compressor on the pedalboard OR compressor before EQ?
There's no 'right' answer here because either 'can' work. It kind of depends on what you're going for. And how you do things as far as settings.
If you put the comp before the EQ, then if you use heavy EQ the comp can't necessarily keep your overall frequency range in the pocket... since there will be peaks and valleys after what the comp has already worked on.
But you 'might' like that...
If you put the EQ before the comp, then it will be able to better control notes trying to jump out or fall back due to EQ boosts or cuts. Especially if you tend to do heavy EQing and get aggressive.
I'd say if you're just looking for a general rule of thumb, I'd say comp after EQ on a pedalboard. But that is by no means carved in stone. If you can't convince yourself of a reason to put the comp before the EQ, and trying it doesn't make you go "Wow, I like that much better!"... then definitely land on putting the comp after the EQ on the pedalboard.
Great video... but about GUITAR?
I did a video about guitar mic'ing (actually one on electric and an older one on acoustics), but haven't done a full video about guitar EQ per se'.
Elect gtr mic technique video:
ruclips.net/video/GBTyFxxNNBE/видео.html
@@AlanHamiltonAudio I'm waiting for it xP
Distortion already compress it pretty hard, but light compression is ok
If you want rock solid bass without the usual muddiness... stop running your subs off a crossover from the main outputs. Instead, run the subs off a separate crossover, or simple low pass filter, from a post-fader Aux. Then ONLY bring that Aux up for the bass guitar, bass and lowest (largest) toms, and keyboards. Nothing else needs to go to a sub set at 160 Hz (or even 180 Hz or 250 Hz if that is where your subs are set). That eliminates ALL the garbage out of the sub that should NOT be there. You could also use the mono master output, but that is usually only available on large mixers. Same using a subgroup, and NOT adding it to the mains... but usually they are already taken up. However, the easiest is a post-fader Aux. It is easy to check that only the proper channels are headed to the subs. And, you can adjust ALL the low registers up or down depending on the room conditions. Just remember, when you are adjusting the mains up during the night, you also have to bring up the sub Aux.
Aux fed subs is a great tool to have in your bag of tricks to clean up system mud.
But, people need to remember to still use their HPF and EQ as they normally would... even if they aren't sending those channels to the subs. In the case of EQ, some people get into the 'bad' habit of adjusting the sub send when they should be adjusting the low end EQ instead.
And in the case of HPF, taking that mud out of the channel strip can still help things like the compressor be more accurate not having to deal with excess low end....
And of course, when mons are FOH, that HPF is still handy. Or when the mons are Post EQ.
But the main thing for those two points is to make sure any stream mix or broadcast mix, or two track recordings (coming from the house console), get a properly EQ'ed and balanced mix.
Which, as long as aux fed subs are utilized properly, they will... But sometimes people assume there's no need in using then HPF since the aux fed subs makes it inaudible... in the house PA... But if the house PA is not the only place the signal is going, then it's still helpful if not necessary for the mix to translate to other sources.
@@AlanHamiltonAudio Absolutely!!! All the channels that do not have frequencies in the sub woofer range should always have the HPF in. Regardless of what crossover you use, or what db per octave it is set for... there is always bleed through. That is the biggest advantage of an Aux driven sub, if it is used correctly. There cannot be bleed through, because the signals are not present on the send!!! The HPF's are that much more insurance that stage rumble and mic drops and idiots tapping the mic to see if it is on and such does not get into the woofers of the tops. In fact, the HPF's are really helpful on vocal channels with a board utilizing Aux driven subs. You can boost the channel's bass control, and really get some drive in the vocals... without risking or worrying about them getting muddy. It does not work as well with subs off the mains though, again the bleed through to the subs. And, to keep all ranges crystal clear... I always had a crossover in-line with the reverb and the delay units. Run in the first channel and set the crossover for 600 Hz. Take the high output of that channel into the second channel, and set the crossover for 6,000 Hz. Take the low output of that channel as the input for the reverb or delay unit. You have now limited the input to 600 - 6,000 Hz. Or, if the crossover can be set for three-way, you could use the mid output for the same thing. It is amazing how much cleaner the reverb and delay sounds!!! BUT... that is all old-school analog mixer with off-board compression and effects (Allen & Heath 56 channel with 8 subgroups 10 Aux sends, 12x4 matrix mixer, and L and R and M main buses). A digital board... I'd be lost. I'd be lost anyway. After ten years on the flight-line in the Air Force, and decades of live sound... my hearing is crap. The graph looks like a crossover with a roll-off at around 1,800 Hz :( Had to finally give it up because, even with hearing aids, I could not hear high frequency feedback :( Keep putting these videos out there. They have good info!!! And, digital is the way to go. None of the manufacturers are selling big format analogs anymore.........
Isn't this standard?
Always quantize before eq so you dont get tricked from some late or early punches.
Was this a DI bass?
Yes, the bass was using a DI (no mic on the amp for this one).
how do you have a track recorded to practice eq ?
like in each individual channel
@@jtmusiclessons21 In this case, X32/M32 with X-Live card installed which lets me record 32 tracks to SD Card(s). So, I recorded a show and then used the tracks for demo purposes. I could've done the same with a DAW and a laptop if I didn't have the X-Live cards.
Did you guys see NASA shoot that rocket to throw it off course? Just like the movies!
Let's hope they don't miscalculate and knock it onto a trajectory to hit the earth! ;)
@@AlanHamiltonAudio Man Alan l was thinking the same thing!
I just love how audio people these days turn op the gain before pushing the fader to 0.
Digital added metering
@@zacherywagner1189 you obviously dont get it
@@openyourmind493 I do this on tour for a living
@@zacherywagner1189 oh wow me too. 30 plus years. How about you?
Why would you have the fader up at all while adjusting the gain??? On my old (analog) Allen & Heath GL2800-856, I could and would set up all the channels, and even the subgroups, with nothing coming out of the mains. The gain is set to provide the channel with the highest input level possible without distortion, which also provides the best signal-to-noise ratio (and Allen & Heath liked HOT signals... +3 to +6, peaking at +9, and occasionally hitting +12). When ALL the channels were flashing the reds just a little, the board was set perfect. "Playing" with the gain during a performance effects everything for the channel, including all the Aux sends. Once the gain is set, it should not be adjusted again during the night. Unless, of course, some fricking idiot decides to crank his amp up on stage (which someone ALWAYS seemed to do). The fader is only there to control the level of a channel in the output.