Відео

GREAT content! Really pooooor video/audio, get that keynote and that audiencemic 😂

I use matrixes for all of my mixing. A matrix for the subs, a matrix for my center fills, and a pair of matrixes for my left and right. I have never thought of sending a vocal sub group directly to the matrixes instead of just straight to the L/R mix. I also use a separate send for the subs so I only send what I want in the subs to the subs. But that is a whole different approach to mixing.

Is there an uncut version of the masterclass anywhere?

From the sound of it, you will need one subgroup for each “problem” input channel to optimise the sound - if you have the same band performing every week, I guess it is doable. But I usually have to set up shows within 2 hrs from scratch for different bands because venue hire is expensive. That’s just barely enough time to unload everything from the dock, connect and sound check, assume the talents arrive on time. So I just don’t think I can afford to do this level of optimisation. I am also confused on the concept of bit rate - I thought a DAC/ADC conversion bit rate is always constant regardless of the input voltage. The perceived drop in sound quality when the input is too low is due to signal to noise ratio. Happy for someone to correct me here.

Thanks for this... really grateful, Pls how do you avoid digital clipping when gaining

🙏

This situation he's describing with the kick that is too loud - is he saying that instead of turning the gain down on the channel (which would reduce the optimal signal quality coming into that channel), and instead of turning down the master LR fader (which is set at its optimal travel point for mix control, and for other instruments that might already be coming through at the right kind of level), and instead of pulling the fader down on the channel itself, you should send that bass drum to a subgroup after it's been processed, and just before the main outs, where that subgroup reduces the level of the signal? If I've got a kick that's coming in way too loud compared to everything else, then if I keep its gain at the optimal level for processing (even though it sounds too loud) then surely I'm going to have to pull it down in any monitor mixes that I have as well? As a practical approach to mixing, I've always set the channel faders at unity and the main mix fader at or slightly below unity, and then I've tried to get a rough mix where each input sounds roughly right. If the visual meters are telling me a signal is way too low or too high coming into the desk, and it still doesn't sound the right volume in the room, it's usually an issue with my amp levels. Thus, what "sounds" right in a balanced mix on the gain pots is my starting point for a balanced monitor and front-of-house mix. I'm not always trying to get things to be peaking at their optimal levels, but rather just using the meters to show me if there's a signal that is far too low or far too high. If I wanted the kick to be lower in the mix (e.g. for aesthetic reasons) I don't understand why it's a problem to pull down the fader. I want the faders to represent the actual mix - so that if something is at -10, then it's probably quite subtle in the mix, and if something's above unity, it's very prominent. I don't know if I'm fundamentally misunderstanding his point, or if I've got it, or if my approach is entirely different to his? I do appreciate that a gain meter that is barely dancing or is constantly peaking is a bad thing, but I've felt that in between those extremes, what my ears tell me is right when all other faders and sends are at unity, that tends to be where I leave the gain knob alone. So please be forgiving if you think I'm being obtuse - genuinely keen to learn.

So I have a question. Ive been doing sound on call at a bar, and I've done about three gigs. The system hasn't been tuned yet, and though I want to get in, and do that, for one, I'm not the main FOH guy there, and also, they don't have much gear, or mics/stands etc, so I'm already doing a lot to bring a lot of my own mics, compressors etc. Here's my question though. I totally understand gain staging etc, and once I go through sound check, and get all my levels, and I'm pretty good at getting the most out of the Pre's in the cheaper mixer they have, but anyway, the biggest struggle is, with bands that play loud, I definitely feel like I'd like the drums to cut more, mainly the kick/toms, and both are all individually mic'd) the issue is definitely always that, and vocals. I can basically have almost no guitar, and bass going on in the PA mix, and vocals are still drowned out, but not by a lot, I just always wish I had like literally 5-10 more DB's that I cant seem to get. Now, I noticed the PA's (just two) , and 2 floor subs, are set half way, and Iv'e never touched them, because they are basically taped over, I guess by the main engineer, I havent asked, but I know the bar owner mentioned random people have messed with them before, so maybe he taped them. At any rate, they are pretty good size speakers, and the subs hit pretty good, and they are cheaper, but not to horrible, like the old Yorkville Elite classics lol. Think I could just turn them up to maybe like 3 quarters, and that might help with the issue, because to give an idea, I'll pretty much have my main mix faders at unity, the Kick a bit higher than unity, the snare a bit lower, toms about unity, guitars, and bass usually always less, except when I need to boost for solos or some automation, but vocals are almost close to maxed on the faders, and just verging on feedback lol. I do a good job at avoiding feedback for sure, but just saying it's right on the edge, but I still need like 5-10db's ideally. Also the meters on the board are always close to maxed, so I thought maybe turning up the PA speakers would maybe help in some way? Like maybe I could have most stuff a bit lower on the board to get the volume I was getting with the PA's where they are now, and I could push the vocals abit more maybe?

Waiting on GOD❤

So just to make sure I understand correctly: ideally, assuming we gain staged our inputs correctly, every fader would be set to 0dB, and we would be mixing with strictly subgroups?

Great reminder that you don’t have to be SRV 24/7. Less is more a lot of the time.

*What I am saying is these major companies created SUBPAR TECH and spent Billions selling it to everyone AS IF it is the cream of the crop of modern tech! They created classes at universities and funded them , mandated policies, gave Faustian-bargains to old school big name engineers, contracting them to spread the deception.. Like seriously kneejerk and say what you wish, but the truth is what it is and not what you want it to be and in a blind shoot out, workflow, functionality, reliability, affordability this system is 100 & 0.*

*REAL RAP! The problem with what this presentation is the BIAS that ALL DIGITAL products are the same because they are digital - which is the narrative that companies like DIGIDESIGN/AVID spent a billion dollars indoctrinating the entire world into believing. the numbers, ratios ETC the is presenting in this video MASTER CLASS, insofar start to **9:36**, simply DO NOT APPLY to the system that I use. The math IE CODE behind the wall is simply different, on purpose from the normality's that are shoved down everyone's throat and as a consequence - this system completely ECLIPES the sound quality, reliability and functionality of 97% of system used LIVE or in the Studio. I can put money on, in a blind shoot out, the system I use can avalanche the audio quality of any digidesign avid, soundcraft, digico, presonus, midas, and all the others using RME ADAT CARDS with BEHRINGER ADA 8000 for the micpreamps i/o and do so while recording the entire mix stemmed out as I see fit on the same computer and running u pto 25 full consoles all in the same box... No pops, No glitches, No slipping buffers and ANALOG SILK SHIMMERING SMOOTH precision and doing so mixing via a remote laptop. .................GAIN STAGING -YEAH, SURE! what I normally do is just start with faders at (0) and make certain my input signal is around -12db and then its off to the races + I can even use my PLUGINS AND VST INSTRUMENTS LIVE! All on the same computer... When I turn my fader down, it sounds like and feels like and ANALOG EXPERIENCE! ....THE HALF HAS NOT BEEN TOLD AN DTHIS TECHNOLOGY HAS BEEN SURPRESSED FRO 20+ YEARS, WHILE COMPANIES (insert mega names) have been siphoning both the tech and conceptual design.*

Gels are a staple of my gig bag. Super easy to assist in tuning and a simple cheat, Gaff is the pits and can ruin your heads. BTW. Good to see you still passionate about drumming Brenton. Not sure you remember a couple of lessons in Radelaide...

I had a very basic understanding of how important gain structure is. You explained it very well (bit rate) in great detail. Good video.

what do you do if your mixer doesn't have sub groups?

Get your gain structure right and you look like a wizard. And you can almost put your feet up and let the gig run itself. Don't though...

Thanks for this video. It encouraged me to keep dreaming about being a better guitar player and praise God with that. Now I just finished my first year at a music school. The hard way is sometimes better than the fastest. Now I must do music with all the theory I learned.

Thank you so much Donna and Stephen for your incredible openness and willingness to share your thoughts on marriage and ministry. So insightful and God-filled. I will be sharing this with our married friends to watch and those entering into marriage. May God Bless you and all you are doing for God's Kingdom. Sonja x

I have retyped this comment to many times, but all I can muster to say is, thank you for being obedient to such an extent that it inspires us to do as you do, as He did.

Where can we see this entire class?

Wow . What a great word by Eric liljero

Thank you for sharing i wonder if a lot of people are seeing this videos

This is fantastic information - I was puzzling between a DCA and a Subgroup to make this work correctly- I am having to run my Subgroup master faders quite low on the console (around -20 db) - Is this normal? Or is it perhaps that there is to much power in the PA itself, and this needs to be adjusted down?

please which brand and model of wireless headset microphone did you use as you were teaching?

What a word Gabe!🙏

The movie is good. However I would say they set up the bow string in the opposite side of the bow.

Jad , é uma benção!

It's good. Pls release it. ❤

I think I have the answer to this question but, what about if you’re recording from a matrix. If you’re changing vocal and music level from matrix, the record matrix doesn’t receive those changes

When you were swaying I was thinking of holding my little daughter when she was a baby and she still needs that comfort as an adult.

Thanks, Ray! Nice message! 👍

7:33 dang

Great message, Pastor JD!! ✨

Great talk! Thanks so much, Caleb!! 👍

Two choises

Please pray for me for My family and day suply tx

❤from Cancún

Amen❤

From Cancún Mexico❤

We love You teachings

Thank You for your honesty and depth.

This routing is not achievable with the Presonus studiolive. If you try to do it you will only end up leaving the mainL/R physical output to use another output for matrix

Sound is not hard. A lot of good meaning people just find themselves in this position with no education. Churches don’t know any better.

My church service last night was about this. Connected by the Spirit ✅🔑

Wow. What a great series. My church is in the process of adding a worship director position, and this has been extremely helpful in defining that role and giving tips for the people that will fill it.

i know this is like a year later...but is there a way were i can get those notes on the screen just because i want to keep it like in a pdf or somethig

Except for the overuse of the expression, "speak into that," it's a cool video!

So beautiful! ARROWS!