Worship Mixing Masterclass with Luke Hendrickson - Mix Engineer at Bethel Church

[@Churchfront]

BIG THANKS to Luke for joining us at our Churchfront Live Gathering. Check out Luke's mix template for broadcast audio here: classes.productiononline.com/p/luke-hendricksons-broadcast-audio-template/?affcode=98710_vuacbyvr

[@olaoluwafemi9508]

Is there any way we can get the PDF of the seminar ? Or just a fraction of it.

[@aaksamuel]

Good, genius

[@robbarooo]

Why is he so insanely adamant about everything should be stereo miked.. But, the most important source, the voice, is miked in mono? 🤔

[@lesantander]

01:22 "Rules" of Mixing 03:55 Eq and frequency spectrum 09:49 "Stereo is everything" 11:00 Compression 13:31 Bussing 15:01 Effects 16:56 Visual representation of a mix 19:31 Mastering 21:50 Using a spectrum analyzer 22:33 Phase issues 23:34 Mixing live vs broadcast & Stereo 25:52 Protools session overview 30:11 Crowd mics 32:48 Loudness 34:20 Room Treatment & Room Mics 36:16 Shelving & Eq Vocals 38:50 "the loudest quiet mix you'll ever hear' 40:53 Broadcast vs Studio Mix 45:00 Learning mixing: studying stems 49:27 Vocal Chain 55:52 Vocal FX 1:00:10 Talking to musicians

[@Elohim-and-Marcel]

Thank you for this ❤

[@dannylopez3074]

Really thanks

[@sukoonsirfsukoon]

all time notes taking session. come back anytime you want, it’s worth and teaches you something

[@produceperform]

Luke is an absolute legend. Thank you so much Churchfront for releasing these videos!

[@cc11studio]

You had me at "I love everything in stereo".....great video.

[@bbender76]

The "secret to Bethel's Mix" as titled in the thumbnail is they have a guy that has a great ear, can pick out issues like he did with his mic, and know how to fix them. This comes with time and practice. There are no shortcuts :)

[@Churchfront]

precisely

[@henryvanweeren7233]

That picture at 17:00 is from a terrific KZbin video, "The Art of Mixing". kzbin.info/www/bejne/inbNgJenj6upnrs Worth every second to watch (it's more than 2 hours long). A person who has put in the time and practice to mix poorly--with no one to correct them or show them any methods of improvement--is a painful thing to watch and listen to. :(

[@bbender76]

@@henryvanweeren7233 I have watched it! It warrants another go, as it does have some great information in it

[@pshimmons]

Lots and LOTS and L O T SSSSSSS of time practicing and doing this stuff!

[@JeffjeffAleman]

Facts

[@tiffanydawnbrewer]

I'm only 18 minutes in and have heard so many useful and important things. Mind blown. Thanks for sharing this.

[@benrandall89]

This dude blows my mind whenever he talks about mixing. THANK YOU

[@phinestro]

The very fact he can hear the feedback ring before I noticed on the KZbin audio shows his sensibility to frequencies but also know the art and heart of recording - is the heart of mixing

[@troywayne8759]

It would have only been impressive if he had named the frequency range on the spot instead of just humming! (KIDDING!)

[@snapascrew]

To be fair, when you’re BEHIND the pa it’s MUCH easier to hear problematic foh frequencies because to you you’re hearing almost exclusively reflections where as your foh engineer will be hearing the direct sound from the PA and also reflections. As a monitor guy I’m often calling out foh rings for my guy because for me it’s very obvious and my ears get extremely irritated fast with resonances lol.

[@masonicmatrix5156]

Yeah..... Frequency Sensibility..... How about 60ghz?

[@PanRider939]

Feedback which could have been mitigated by projecting his voice better and having the mic closer to his mouth. It all starts at the source, as a sound engineer he would know this.

[@josuemendoza3199]

I knew I was in the right place when he started humming the frequency

[@flefer506]

Luke is my production hero.

[@mechanizedcivilengineering4735]

Sir your passion is so strong and impactful! Thanks a lot for sharing these deep lessons

[@matthewward1584]

I will send flowers to the man who links timestamps for each of the questions asked.

[@mikebailey194]

Super informative. I love how throughout the video he keeps off handedly roasting the acoustics and speaker calibration of the room.

[@user-qj2cq4dv3k]

Many thanks to Nicolas cage for the very informative presentation 🙏🏽

[@Mr.MarcAntony]

I was thinking the same thing.

[@justinbroby]

That guy is in everything

[@ChrisGill]

This is one of the most informative and helpful presentations I’ve ever seen on mixing sound in a church setting! HUGE thanks to you for putting this on KZbin!!!

[@purposeinpresence4494]

Me.. "Let's get the room treated well and run in stereo" Everyone Else "Let's not get it too dead!".. "Are you sure you want to run stereo, you probably don't know what you're doing" ... So glad I found this video.

[@michaelaschbacher9578]

@10:50 If the PA coverage of the room is setup to be stereo yes, but so many PA systems to not adequately cover the venue with both the L and R speakers. If you are driving a LR line array with super wide coverage, then sure, but many auditoriums are using multiple point source boxes that each cover a seating section, in which case seats will be missing panned sources.

[@michaelaschbacher9578]

After getting further through the video... I guess it depends on how you're managing the mix, but I would still tend to run mono. I would rather have consistency through my space rather than magic up the middle.

[@CoreyMcConnell]

You can either improve sound separation for everyone, increasing clarity, or normalize levels for everyone. Not sure what the benefit of the 2nd choice is. I’ve never had someone from the congregation approach foh and say: “there wasn’t enough eg1 in my mix.”

[@michaelaschbacher9578]

@@CoreyMcConnell It depends on what your goal is as an engineer. I would prefer that everyone in the audience receives nearly the same mix, which is my intended mix. Someone on the left half of the room may only be able to experience the left channel if running stereo. That's not providing separation and clarity, because they can only prominently hear one speaker. You may also have overflow areas, or delay speakers, or what about front fills? Unless you're checking a mono reference, you may not have a good mono mix for the bulk of these other areas. Can stereo help with separation? Sure. Do you need a proper setup to experience a stereo mix for those benefits? Yes. Can you still have an awesome rock solid mono mix? Absolutely. Its all about consistency, and I think people are way too caught up in 'if its not stereo, its not hifi'. Do some forum searches, many engineers run mono (except for some stereo effects) for the reason of consistency across your audience. forums.prosoundweb.com/index.php?topic=164216.0

[@geoffschuller4875]

Fantastic session! Thank you so much. My philosophy of mixing is very much like yours, and I'm basically self-taught...but with about 25 years of experience by now! I leas worship at my church and am going to share this with our sound engineers. They're gonna love it!

[@TheSeeking2know]

"Learn the rules first before you break them." 👍

[@blessedson69]

Jake, God bless you and the staffs at Churchfront. You guys rock!

[@Wakingupdaily]

amen i love sound and praise god

[@dstagl]

Line arrays have their place, but they are not always the answer. You may get better control in the vertical plane using a line array IF you can get a long enough line. Horizontal pattern control in a line array box is handled the same way as in a traditional trap/point-source box. They all use some kind of horn for mid and high frequencies, and there will be little horizontal control in the lower frequencies. A horizontal array of point-source boxes will generally have more control of low frequencies in the horizontal plane and the same horns to control mids and highs. However, if you want to spend more for a PA that might not be the right fit for your church, by all means go and get a line array with twice as many boxes that need twice as many amps and twice as much system processing for at least twice the price.

[@alohaadane]

I am very busy right now, but i can't wait until I watch this... :) Thanks for sharing Churchfornt.

[@sephoraMbungu]

This is experience I am learning so much about mixing for it example broadcasting or churches.

[@efeartz]

Thanks for sharing this. I can't even wait to complete watching this after watching the previous video on mixing master class you uploaded

[@justesmond]

I learned so much from this video! Thanks Luke. Thanks Churchfront.

[@masonicmatrix5156]

Church"Front" calls "Beatles" greatest rule breakers... I would say Builders who BEND rules the greatest TT Breaker

[@ronnyrosenow]

yeah, thanks for sharing this masterclass :)

[@rickbiessman6084]

37:06 :O This is fascinating stuff. Even on a Neumann KMS 105 I have found myself boosting the air by something crazy like 10 dB. My world just turned upside down. But it starts to make sense when you cut 10 dB at 370 Hz. I should definitely try that.

[@Shawneverette]

If the same thing is coming out of both speakers it is mono correct? It is the difference in frequencies, filtering, phase, between the left and right channels that cause a signal to present it self as a stereo source. So true stereo means what one hears in one speaker or on one side of the room is not what others hear from the other speaker or on the other side of the room.

[@videoje8806]

I love yr mix ..the live sound so good..so nice..god bless

[@juanjoseporrasmartinez8402]

This is so useful, he said a lot of important things in a couple of minutes, thank you!

[@alexwalkr]

I'd love the document he's working through there, it seems like it would be an incredible resource.

[@giovannylopez7557]

Me too!! Great stuff

[@max4488yt]

Same here!

[@BobJones-bh9qz]

The document as well as the session from his DAW would be absolutely game changing I bet

[@jairrobalino]

Is there a way we can get access to the power point slides

[@budgetguitarist]

This is an awesome master class. GREAT advice!

[@MelvinJuzWar]

Out of all the big church broadcast mix setups, Luke’s setup is probably the simplest of all, yet sound so good!

[@chaddonal4331]

6 audience mics, 5 guitar channels, parallel bussing. Not actually simple. But he has cohesion with a console approach of 1 plugin channel strip per audio channel, so that aspect is consistent and simplified.

[@MelvinJuzWar]

@@chaddonal4331 my bad, I meant the gears in the broadcast room. Interface, preamps and speakers aside, other churches would have control surfaces like multiple iPads and S1s and he would only be rocking a Korg NanoKontrol.

[@jean-lucbattista2492]

@@chaddonal4331 and wave's multiband compressors on every vocals ;)

[@chaddonal4331]

@@jean-lucbattista2492 MB Comps on vocals? Interesting. That's new to me.

[@ToddHowardBethesda]

@@chaddonal4331 he uses a mb compressor to compress the 4K region hard on vocals

[@james_german]

Luke roasting the Churchfront room and PA hard lmao

[@Churchfront]

But you see, now we can show our church leaders this video and say, “the expert says we need $50k in treatment and speaker upgrades, please and thank you.”

[@frankservant5754]

@@Churchfront hahaaha

[@robbokeys]

Or know how to use a graphic eq 😂

[@alphaomega8373]

Luke lives!!!

[@Mr.MarcAntony]

51:45 When the presentor spoke about Auto-Tune I had a good laugh. I thought about T-Pain, then he mentions him by name. 🤣🤣🤣🤣🤣

[@soundofthegardenwatc]

blessed video. thank you for your hard work.

[@Mr_T_Dollars]

this was great... what I am taking out of these are the emphases on noise to signal ratio, and the importance of stereo

[@josuegonzalez4705]

Amazing Masterclass, this is very useful, thanks a lot Churchfront for sharing with us this kind of content!

[@jackhudnut6352]

Just gave this a listen - Great teaching style. Appreciate the analogies as well. One thing that I think should be clarified is when Luke spoke of no stereo PA, which I agree with, I believe the analogy he used drew parallels to Stereo which I don't think is accurate. The stereo effect is achieved through the variations in the sound between the left and right channels of any sound system. In this case, the stage, is mapped to the console by the sound sources connected to it. Microphones and DI's based on different locations, are provided to the console which enables the engineer to effectively create a unified discrete direct sound for each channel. Each will arrive at the left and right speaker stacks, based on console settings and fader at a slightly different time. A difference in just a few milliseconds is enough to create the illusion of width and space absent in mono system. This would create both direct and reflected sound arrivals at each listener location, or, a different sound picture to the listener. From the early stages of audio there have been many attempts to accurately recreate the recorded experience live and vice versa. There are great stereo recordings, and depending on how you want to evaluate, achieve a enhanced experience for the listener. On the other hand, binaural heads with microphones embedded where the ears are approximate very well what the effects of the room and its reverberate signature is but it does not account for the differences in the ear canal physiology. Binaural affords an omni directional like experience with out the human brain attached. This may, or may not actually be a more true representation of natural, whatever that is. Everyone's canals are different, and that difference has an impact on perception of arriving, reflected vs. direct sound energy. Splitting hairs, lol. My point is that I agree with the no mono PA. I just wanted to comment on the use of the stereo analogy. Sorry I got lost in the weeds for a minute.

[@alexpickering7725]

I wish we could get that session he pulled up so we can practice mixing that level of talent.

[@chaddonal4331]

At 33 minutes... He says his SPL levels at FOH max at 88 for 1st service and 92 for 2nd. (Presuming dBA). This is at a church noted internationally for participative singing. Notice, audio techs, these are levels where people can still hear themselves sing and not be overwhelmed by the stage music levels. We have been working on the quality of our room mix and a great mix peaking in upper 80s or lower 90s Max is totally loud enough to energize participative worship. (95dBA and above tends to overwhelm congregational singing.)

[@joshuaminemusic]

You know how he said he only uses two different reverbs, 1 for drums and 1 for vocals. What do you do for other instruments like piano and acoustic guitar? What do reverbs look like for them?

[@wes3591]

Room

[@CoreyMcConnell]

Leaving them alone is an option

[@soundxajay]

all time best video❤

[@markhuebner7580]

Great details, great overview, thanks!

[@KyleThurmanMusic]

this is awesome

[@CoreyMcConnell]

Thanks for this content

[@yunsim1]

Never heard this kind of essential lecture regarding live mixing for only 45mins. It's not all things about live mixing however, However, contains all things to be done for it!!

[@epicdude999]

If you're allowed to travel, can you do a tech tour of Soul Survivor Watford in the UK?

[@lskharrison4506]

OMG! Can't believe this is Happening

[@GregVasquez777]

Thanks this is great and much appreciated.

[@Carlos14082010]

Thank you so much!

[@Shawneverette]

Question about the live mix vs the mix of the tracks. I see the plugins on the mix in protools, so was he mixing through protools on the night of the show and recording back into it using those same tracks and plugins?

[@prettysimplemusic]

He sounds like a black baptist preacher about to start whooping/preaching @ 0:37 & 1:30 🤣

[@Shawneverette]

I like what he said about everything being stereo but I dont agree to record everything in stereo. That is adding a lot of mics when you dont need to. The stereo rooms will catch those mono sources as well as the drum overheads or BGV Panned Left and Right across the stage. Mono sources like guitar, bass, vocals would be weird and really a lot of extra work to mic and mix in stereo. Since there is natural reverb in the room mono sources will be reflected around the room and be presented in both ears. Some things just sound better in mono and present less clutter in the mix.

[@CoreyMcConnell]

A lot of what he’s talking about is contextualized to having talented musicians and basic, digital mixing equipment. A lot of congregations are maybe 15+ years out of date on this. If your worship pastor is over 30, well… Receiving string instruments into FOH in stereo requires 0 mics with modern equipment (digital modeling) For vocals, he’s not suggesting two mics; but splitting that signal into 2 paths

[@Shawneverette]

@@CoreyMcConnell Im not sure what you mean by capturing strings in stereo because of good musicians and Digital equipment. To capture an acoustic instrument in stereo you need 2 mics or one stereo mic no matter the players ability what you are recording on. If it is a keyboard you need the L+R lines from it. If you split a mono signal into 2 tracks you will have 2 mono tracks of the same signal and when combined will present the same signal just 3db louder. What makes something stereo is two different signals with different phase, pitch, frequency, timing information.

[@CoreyMcConnell]

@@Shawneverette in the contexts where I play, the drums are the only mic’ed instrument. Therefore the only “acoustic” instrument. Everything else is either an electrically delivered signal or digital. Therefore, from violin to synth, everyone else is using some form of electric pickup system or digital processing for a mostly silent stage. Your context might be different. The guitarists, bassists, etc (aka Strings) that I play with are all using effect processing units that output into stereo. (Maybe with the exception of a few old-school acoustic guitar players who are running straight through a DI box into the board.) Keyboardists, likewise are using something like a Nord or MainStage through an audio interface. Again, stereo output. Also, I don’t know Webster’s definition of stereo, but I would certainly consider 2 identical tracks panned hard in a band mix to qualify as “stereo,” even if they are sonically identical. The thesis of this talk seems to be: use sound staging well to increase both clarity and quality Update: just googled the definition of stereo and can confirm; it doesn’t require separate sounds, only separated sound staging

[@HybridMusicians]

“Treat the room!” I learnt this the hard way!🤦🏼‍♂️ #GoodStuff

[@valik-stu]

Great video! Could you share the presentation from the video please?

[@jeremilicata]

Where can I find professional stems from the worship albums we love????

[@supfiger]

Thank you!

[@chrisbeltran6148]

Man this video was great, I really loved how- hold up, hmmmmmmmmmmmmmmmm, y’all hear that feedback?

[@ludovicthuiller8347]

Magnifique Masterclass !!!

[@kwasisebuava3664]

1. How do get clean signals on stage if you do stage monitors ? 2. what's your approach to Gating on the Live Broadcast.?

[@dennisyip8618]

I am new into recording and mixing for my church, and I see many amazing contents from this masterclass. Definitely will rewatch this video as reference to improve my mixing skills. Thanks a lot for sharing this wonderful class.

[@rickbiessman6084]

You go ahead and do that! =) It’s a little sad Luke had to rush through the first part and wasn’t able to go into details, but every single point he makes is insanely important. If you’ve just started out, I imagine you could rewatch this video every two months, pick up something new and set a goal for yourself what you want to work on. And you’ll make great progress!

[@NealJohnson]

This is probably the most helpful video I've ever watched on the subject of mixing! Thank you.

[@jesseyeo1965]

Very great content! Thanks for this! God bless!

[@darrickkeels6387]

Mind blown! Well done.

[@EGSource]

So good. When I think of everything being stereo even though we might speak out of the mouth being a mono source, God gave us 2 ears to perceive and hear it… stereo, and he saw it was good.

[@Hebrews11ProjectChannel]

There is none holy as the Lord: for there is none beside thee: neither is there any rock like our God. 1 Samuel 2:2

[@jasonmeanshealer]

This is a confirmation

[@luckyidakwoji7268]

Thanks alot, this session is so rich 🔥

[@jeconiamaasbach]

Love it! 🔥🔥🔥

[@BSP1822]

This is awesome info. Thanks!

[@Bigricky06]

I came to this video thinking that his pro tools session is probably impossible and so complex but his mix is so simple and I am trying to achieve that sound. 2nd thing that shocked me was his use of stereo everything.

[@geraldbritton8118]

so nerdy trying to "help" the sound team in the room find the feedback!

[@tialeqs9978]

Thanks Jake!

[@mstr_anderson]

Don't knock point source. They have their purpose. All depends on what one wants to achieve and how it's applied. Line Array isn't the Be All and End All.

[@3rundisciple]

agreed. all depends on the need of the room and the company ur getting the speakers from. Any Sweetwater point source pa, sure, it'll shoot sound everywhere. D&B audiotechnik point source V series will work the same way a LA does, just better horizital spread and less throw distance

[@ziqinggu6085]

Very Useful, Thanks!

[@michaelpickles2001]

Some great points. "everyone wants to live downtown" "keep what belongs, get rid of what does not" "keep it simple" "close your eyes" All excellent. Just one small correction... Not all Point Source speakers go "everywhere". Most do. But d&b audiotechnik loudspeakers do not. They go where you point them. For those people that were despairing because they do not have space in their venues for Line-Arrays... Fear not. It is not always appropriate to hang a Line-Array everywhere. Point Source loudspeakers are great when you just want one speaker per side. Or perhaps your venue is not high enough to hang a Line-Array, so maybe you hang a couple of Point Source boxes per side (or put them on sticks). Or you need to put in multiple single Point-Source loudspeakers. But here is the caveat... They do need to be good Point-Source speakers, and you do pay a premium for a premium product. d&b audiotechnik make both Line-Array systems and Point-Source systems. Their boxes have constant directivity and pattern control. The sound goes where you point it (not "everywhere"). You can check out the dispersion characteristics for their various loudspeakers from their website. Or, if a Line-Array system is the appropriate solution for your venue, they also have Line-Arrays too. And if you want to get the sub-wash off stage, then check out their cardioid subs. If you remove the sub-wash from stage, then your musicians will find that they can run their IEM quieter because they are not competing with the sub. Happy reading ! :) And thanks again for some great points www.dbaudio.com/global/en/products/filter/product-types/point-sources/

[@jean-lucbattista2492]

It's very dangerous to try to summup sound system design in a few points... What I'd rather have people understand is since they are spending money on a sound system, they should really think of the specialist as part of the system spending. Bigger bang for buck that way. This is a great exemple by the way. Luke's recommandations to just go by line arrays could easily make you spend more money for a poor outcome, compared to paying a system designer within the same budget.

[@jean-lucbattista2492]

kzbin.info/www/bejne/fYSZhJZmetFrnbc

[@michaelpickles2001]

@@jean-lucbattista2492 Yep. And I hope it did not sound like I was trying to sum up sound system design in a few points. If it did, that was my mistake. I was simply attempting to correct the assumption that all Point Sources are equal. Thanks for clarifying the importance of using a System Designer.

[@jean-lucbattista2492]

@@michaelpickles2001 plus you can build point source speaker matrices with certain systems, according to the sound dispersion you want...

[@3rundisciple]

Totally glad you brought up this point. We are currently in the process of building a new auditorium, and its always been my desire to re create the un-earthly next level premium sound that a high end line array system *D&B audiotechnik* would provide. However, our room is wider than it is longer, and the sound company engineers that we are working with confirmed that Using line arrays in that space would be under utilizing them since their throw ratio is way too far. Instead, D&B audiotechniks Point source speakers, specifically the V+Y series, are of equal quality, just shorter throw distant, but more horizontal spread. Im excited to see what is sonically possible in a room like this in combination with PA system like this. Currently we are on the complete other end of the spectrum in a small box like concrete room where the noise level is overwhelming. We lean towards a higher volume higher energy decibel level for our style, so when he talked about running 88-92 dbs at friggen Bethel, my mind blew. id have to see it to believe it. But on the flip side, I know the concept of perfect clean output with no noise can clean up the mix so much that its possible to get a louder more dynamic quality in the decibels being heard. going from a sloppy 105db in crammed concrete room to a cleaner healthier number with the same energy and volume dynamic makes me excited. Also for nerding out sake, if anyone has experience on an L'acoustic system vs a D&B, Id like to hear it! There aren't too many forums out there about these types of systems other than 10 year old chats with touring grumpy guys talking about their rigs.

[@tollivergilliland2259]

Would love to see the document he’s using.

[@ClaudeYoung]

This was a really cool presentation! Thanks!!! (+1 for Stereo PA's by the way!)

[@WRNVAN]

Love this. Thank you for sharing!

[@wildonechristianibanez835]

that drum mix tho

[@monstersimon99]

Where can we buy the powerpoint Luke? Is that possible?

[@MAKKOSTEVEN]

Hi, is it possible to have access on the information being displayed on the screen I love to read through as well. Thanks ❤

[@solusfides]

stereo in PA.... if your room isn't properly built for stereo for all in the room, then you've gotta continue to rock in mono. I have yet to work in a church environment (where I mixed) that was properly set up for stereo. If I ran stereo in my current space, half the room would miss something.

[@solusfides]

In most of these spaces, there's also no seats in the middle of the room. so, no one will get that perfect stereo sound.

[@CoreyMcConnell]

Then God made a mistake in giving us two ears. Where there is no PA, like an acoustic living room set, everyone in the room is hearing something slightly different. Yet have you ever heard someone complain about real live sound? He’s saying that the advantages of stereo separation outweighs the perception that “everyone hearing something different” is a bad thing. Usually when someone can’t hear something it’s not because it isn’t in the mix, but because it’s crowded in the mix

[@solusfides]

You know what? Since I originally wrote that reply, a fun thing happened a year later. We got to replace the old point-source grid system in our space with an L'Acoustics array system and whatdya know, you can pull off stereo in there! Yeah, might not wanna do full LCR, but panning can be done without hiding something from the other half of the room! A good system can really make the difference. Our old point source system wouldn't have allowed that, nor was it wired to allow it. My mind has been changed. And yeah, I hear what you're saying about separation. 😎

[@CoreyMcConnell]

@@solusfides that was a kind response; sorry for the harshness of mine. I got frustrated that all of the comments on this helpful, free resource seemed to be rants that mono is inherently better than stereo There seems to be a reluctance to innovate and learn amongst musicians, which I struggle to understand. First the debate between traditional and contemporary worship, then tube amps vs modelers, etc. I’m mixing wirelessly from the stage these days, frustrated that the AI mixing tools aren’t cheaper, but then I’ll walk into a church somewhere where the musicians are killing it and the sound guy proceeds to murder their music because the church recruited a bunch of unpaid volunteers for the role and expected them to figure out the monolithic, antiquated, giant motherboard that they refuse to upgrade As with anything, it’s wise to trade in the old wineskins before they become worthless relics But we’re all just doing our best with the resources we have and I need to work on kindness in my delivery

[@onzkicg]

Thanks! I’m lost about the stereo thing- is he saying that all channel should be 2, physical independent cable for L/R? Like in his example for guitar, in console you see 2 channel for 1 guitar player, correct? If that’s the case, I need to upgrade our console 😂 I only have 24 channels. At the moment our setup is 1 source:1 channel.

[@anthonylopez2120]

Luke 🤯🤯🤯🤯

[@MichaelNatrin]

Great video.

[@leckel1996]

I wish I could have seen the reverb settings

[@samgerber1371]

Just 8 minutes into the video and the content is already so great

[@MicheeNzamununu]

Can you do parallel compression and EQ from a single Mixing Board?

[@clifforddeleon6833]

How about piano that produces bells ,piano , pad, strings etc.. where should i put in front house frequency

[@rodrigonogueira173]

That was the best!

[@Diamond88keyz]

Wow! Great Content!

[@zechkurien4836]

I knew I was in the right place when he immediately says “there’s a bit of a feedback ring that’s driving me nuts”

[@ikueazy6029]

Thanks so much. Love you Ma church is not using digital mixer yet, but how will u choose to connect these stuffs listed. 2pair of full range speaker (m audio), 1pair of wahfidel sub speacks, Yamaha mgp analog mixer, with dbx crossover and dbx equalizer. 1. would u prefer stereo connection? 2. Would you prefer connecting the sub speaker on an auxiliary channel from d mixer or u would prefer using dbx cross over in two way stereo mode where you can connect in this format (mixer > dbx eq > dbx crossover > voice speaker on high and sub on low from the crossover? This is how my sound is connected in stereo mode but im using full rang speakers i want to be able to control the level of of total mid range and high rang coming out of my speakers

[@antoyohanesmix]

Hai there.. Im just want to know how to sync between audio mix Master from daw with camera for live streaming. IMHO if mix using DAW and bunch of plugins there's delay issues right? Thx and God bless 🙏🙏

[@lordsilver5252]

This is a great video and i learnt a lot thank you. my question is with relation to studio mix, would you still bus different artists to the same reverb & delay, considering that busing them to different reverbs could drown/ muddy the sound due to the different reverns and delays playing at the same time?