Well what you’re showing is what you did but not explaining how you did it so the purpose of your video is what

It's a great way to do it, but falls down when you're using mono sends for in ears, as pre/post fade can only be selected for pairs of channels. If I set the drums to pre fade in the drummers ears (bus 1), then the bassist also gets drums pre fade. 😢

please where can I get those drums stem you use??

Ok, I'm having a hard time understanding your methodology. Setting up the graphic EQ and the Parametric EQ (close) to the same values will show how they affect the frequencies passing through them, and highlight the differences between them as far as Q width goes and how it impacts the overall response, especially with multiple adjacent bands/sliders. However, in a practical setting, you'd be using your ears to assess the sound in any particular venue and adjust the bands of either EQ accordingly, with the ultimate goal of getting as balanced a soundstage as you can. It's ok to prefer using one over the other, to be sure. We all have our preferred way of getting the job done. I don't necessarily think one tool is better than the other; they are different tools and require a slightly different approach. As you point out, it's important to know how any particular EQ you're using behaves, whether it's GEQ or PEQ.

Mixed for a musical and there was one soloist who asked for reverb for their monitoring. I kindly declined and explained the reason and they understood though seemed unsure of their performance. The singer was a pro and their performance was amazing in each show and they also got a lot of praise for it from many people. I encouraged them to trust that the solo sounds amazing and that it would sound worse with reverb in the monitor mix as the monitors we use are far away due to the structure of the theater and that it would only get worse when a full-blown choir joins the song. They are a professional rock/soul singer and always had reverb in their monitors. So I get it. But in our situation it's a bit different when the monitors are far away and the other wireless mics on stage would further amplify the mud as they share the same monitors for the whole stage. I'm glad I stood my ground in this situation but would consider otherwise in a different setting.

Can you make the Subgroups behave more like a DCAs where the FX and Compression would "follow" fader changes?

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

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 KZbin 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