How To Set Up A Sound System For A Live Event [PA System Setup Tutorial]

[@GeraldWilhelmBradenComposer]

I have been a live and studio engineer (with a sound engineering degree) for over 40 years. This young man is sharing a LOT of great info about sound. Every time I hire a new sound tech for my Music Shoppe sound company, it takes me about 6 months to train them, though they receive an education they can use for the rest of their lives. Sadly, most "sound techs" are not "real" trained sound engineers, that had to study all the math and everything else I studied in college. Most sound people learned to run sound working in a music store, or with a band. There is SO much to learn for a good sound engineer, and this makes ALL the difference between mediocre or OK sound, and having great sound. Here are a few more tips for you all. As Kyle mentioned, always "flesh out" the sound system set up, to know where you are going to place the speakers, monitors, and microphones, before you begin running cables. I always start with my power ex cords, using 12 gauge ex cords, and I use a circuit tester to make sure the outlets are wired properly, with no open or reversed grounds,,,,etc. Using bad power can easily damage your equipment! The I run the main XLR signal cables fro my rack to my mains, subs and AUX monitors, using thick 16 gauge XLR cables. The I run a 30 foot 8 channel snake near the drums, for the drum mics, bass and guitar amps., and vocals on the other side of the stage. I always make sure that my XLR main, AUX monitor cables, and snake are a few inches away from my power cables, to help keep any possible 60 cycle hum from power from getting into my XLR cables. For clubs, and most indoor venues, I always turn my speakers in towards the dance floor a little 'caddy corner," so the loudest sound is on the dance floor, and so that the sound is not bouncing back to the stage from the rear wall (at about 50% when it bounces back). This helps so that you won't have bartenders and servers complaining about the volume being to loud, helps stop the possible feedback of the sound bouncing from the back wall (like a cur ball on a pool table), and also allows people that are not dancing to hear themselves talk, and still hear the music as well. You will also want to have the horns in your main speakers to be at about 6 and a half to 7 feet above the the floor, so that high end and clarity will throw to the back of the room. If you have your horns to low, your PA will sound "muffley" because the bodies in from of the PA will "absorb" all that high end and clarity. The subs are a different story, because bass is "non directional," and will be pretty much heard all over, having much wider sound waves that the shorter frequencies coming from the horns. I always set up my mixer and rack on the side of the stage, because after I do a full sound check (walking out front a few times during the sound check to check the levels and mix) , everything is set and mixed, and all I am basically doing is turning solos up and down, turning the fader up a little more for each person that sing lead (and bringing the other vocalists faders down a bit, so that their harmonies do not "bury" the lead vocalist), and changing effects such as shorter or longer delays (such as a "rockabilly" or Stray Cats type of quick delay, or a longer Led Zeppelin or Journey type delay with 3 trailing repeats). I always have a good set of headphones set up, and can always listen to whats going on out front, by soloing out any channel, any AUX mix, or the 4 sub mixes on my Mackie mixer. The other really good thing about running sound from the side of the stage, is that it's very easy for me to hear the monitor mixes, and for the musicians to communicate to me if they want any small changes. Also, I use 31 band EQ's right after the L-R outputs on my mixer, and before my crossover that separates the frequencies from my main speakers to my subwoofers, and usually set the low crossover point to about 80 HZ. I also use a separate EQ for each monitor mix. I use JBL PRX 635 1500 watt 3 way speakers for my mains, and QSC KW 181 subs for my low end (I have 10 of each, for smaller or larger shows), and all QSC and JBL 1000 watt powered monitors (I have 16 of these for smaller or larger shows), and Mackie VLZ 4 mixers (24 and 32 channel), as well as Allen & Heath Mix Wizard mixers (16 channel). Also, I run my QSC K12 stage monitors on tri pod stands on the front sides of the stage , like side fills, instead of on the floor. I set up an AUX 1 and Aux 2 mix for Left and Right, and those monitors easily throw 15 feet, and FILL the stage with vocals at ear level, instead of the monitor being in front of the singer on the floor. When you have a monitor on the floor, about 50% of the sound is "wasted," just hitting the singer in the belly or chest, because your ears are on the side of your head NOT on the front of your face. Also, when a lead singer walks away from that monitor, the monitor becomes almost non existent to them, which is why so many singer get sore throats! I learned this monitor technique from Todd Rundgren almost 35 years ago, and it has served me very well. It's always wonderful when a singer comes up to me and tells me that they heard everything they were singing, all over the stage, without getting a sore throat! When I do the AUX L-R mixes, I place the lead singers mics at equal volumes in both mixes, and place the guitarist, keyboardist, or bassist vocals on either side of the stage, just a tad louder than the persons vocals from the other side of the stage, This way the lead singers always hear them selves well, and the musicians that are singing on each side of the stage hear themselves well, as well as the other harmony parts. If I do a larger concert, I will tap another monitor off each AUX 1-2 mix, and place it on the floor near the subs, on the front of the stage, caddy corner to help fill the stage a little more. For even larger concerts, I will also place another set of monitors from the AUX 1-2 mixes on the floor in front of the singers at the middle of the stage front. I never have to turn up those monitors very loud, they are simply a little "extra stage fill." When I do very large concerts, I will also tap another set of QSC K12 monitors on tri-pods, about 5 feet behind the first set that are near the front sides of the stage. Because of the way I set up my monitors, I am able to do very large concerts with only 4 AUX mixes (AUX 3 is usually for brass players, also at ear level on a tri-pod stand, and AUX 4 for drummers at ear level on drum cases, making sure the monitor is not bleeding into a vocal mic, or any drum mics), and no one EVER complains that they can't hear the monitors well.......Music, Peace, & Love! 🎼☮❤ TheMusicShoppe.net

[@AudioUniversity]

Thanks for offering this additional info!

[@GeraldWilhelmBradenComposer]

@@AudioUniversity You're welcome Kyle! Any good and practical knowledge for musicians and sound technicians, will all help to make the music world a much better, more pleasurable, and better sounding world! ..... Peace! 🎃

[@keithclark486]

@@GeraldWilhelmBradenComposer You just wrote a book in the comment section.

[@GeraldWilhelmBradenComposer]

@@keithclark486 Ha ha! That's just one of the downfalls to being a professor of Sound Engineering, and also a professor of Music Theory and orchestration.. Haha! 😃

[@thamsanqamakha9420]

hey Gerald please help me understand connection of crossover and eq

[@Maydoggie]

I wish I had found this channel 2 years ago. I had to learn by trial and error, which results in a lot of error. I continually ran into 1 of 2 problems with the people I consulted with: 1. They had a static setup (same configuration week after week, year after year) and had only memorized steps without a conceptual understanding of audio principles, or 2. They had a good understanding of audio principles, but talked over my head or tried to teach me too much at one time. Anyway, thanks for this. My brain is very linear and if I don't understand the alphabet, it's futile to try to teach me how to read. Once I grasp the basic concept of a system, the details are much easier to grasp. This video alone is going to help me tremendously. I can apply this knowledge to my 2 years of fumbling and bumbling and maybe be a decent sound rookie now.

[@AudioUniversity]

Glad to hear this is helpful, Steve! Thanks for watching and commenting. I agree - it’s important to build the concepts together in a way that makes sense, instead of dumping everything all at one time.

[@bertabalo4434]

Qt.000000

[@yevubright1599]

Cool

[@janetkile1690]

I have questions about even more basic info - I am a singer that amplifies only my sound with one speaker but want to add a monitor and have no mixer - and don't quite understand what I see on the back of both powered speakers......!

[@westwalesmegamalayal]

Bro wrote a hole essay

[@wazzuptrey]

Awesome video! It took me years to learn a lot of these basic things and I put plenty of wear on my equipment because of basic mistakes that can be easily avoided. I have two more SUPER simple tips for new folks in the live audio world to add. 1. SHOW UP EARLY!!! My dad who did mobile DJing for 25 plus years would always say "if you think it will take you two hours to set up, plan for 3" multiply the time you expect setup to take by 1.5 2. Make securing cable your LAST step. I can't tell you how many times I've made adjustments to microphone placement, monitors positioning, or even moved my main speakers a couple feet to accommodate for a larger audience and ended up tearing tape lines or cable ramp up and redoing them. Its also a very import step for liability purposes, so it you make it a point to have securing cables be your last step you won't forget it.

[@guystoker7468]

Thank you so much for this video, it’s such a life saver. Believe it or not I’ve managed to go 30 years as a pro musician without the need or knowledge of one end of a desk from the other (metaphorically speaking) and next Tuesday I start a job where the only person responsible for the set up etc is me. I’m going to put this video on repeat between now and then. Thanks so much!

[@shcoopsarasota]

For me a good reminder of what to do and care to start all the way down. After 30 years of doing the sound for my small local band I still fight to get he best quality sound, and these explaination are very clear.

[@AudioUniversity]

I'm glad you're finding the explanations to be valuable, Scott. Thanks for watching!

[@rupe53]

As someone who used to do a fair amount of small music festival work, I used a system of organization to keep everything straight for quick band changeovers. (average about 10 minutes) Using a 16 channel board was common so 5 inputs across the front of the stage for vocals and misc, 5 inputs mid stage for instruments, and another 5 inputs for a drum kit. #16 was for FOH talk-back via monitors. Each XLR cable got a masking tape "flag" with the input number, so you didn't have to follow it back to the snake to see where it was. From the FOH position you could easily count (left to right) what channel people were using. (1-5 was front of stage, etc... 6-10 was instruments... 11-15 was drums) you could easily swap a mic for a DI and keep the channel assignment. If you needed to change things more you can push vocal channels #4 and #5 to the instrument row and keep a group together on the board. (congas, bells, maracas, horns, etc) Basically straight back and keep the count in order. (swapping left and right always tangles things) Another handy tip was to pull the whole board down between acts... except for mic #1. This was for an MC who wants to talk between acts, you just tell them to look for #1, which is always live. (or whatever number you assign) This allows you to move stuff or pull inputs on stage without constantly having to worry about pops and clicks. After a changeover, the stage tech gives his "thumbs up" to the FOH, then all levels go back to a mid-point, which is close enough to start mixing on the fly. Again, average changeover in under 10 minutes. Hint: pull mics away from drums and walk away while he sets up, then push everything back when he's done... especially if the drummer is a lefty!

[@cooperalbert5017]

I really love this channel. Every videos uploaded here is useful for our church whether indoor or outdoor. Thank you so much :D

[@uweschmidt8772]

I work as a professional live sound engineer for about 25 years and was curious about that video. A thing, that doesn't make sense in my experience is the gaining her. I would highly recommend NOT to use the gain to create a mix and not keeping a close look on the meter. That can lead to big trouble during the show, especially when you're doing house and monitoring through one desk. I use gain to adjust headamp-sensitivty, not meant to be touched during the gig after leveling (only in case of a need). The levels on analog-consoles (e.g. -6 to 0 dB) are different from a digtital-console (-18 dB to -12 dB dbFS). But set up right, I user faders to do the mix, because it is much easier to handle and for most of al this is what they're made for. At last a proper gain is the base of your mix. The second point is here to check inputs with all outputs set to 0dB to the system can result into a very short to no show. If there is something wrong on stage and an instrument boosts suddenly up to +20 dB or more (I had this several times) to the open system can really damage more than switching on in the wrong order. Always check the signal PFL via headphone before sending it to speakers. I met several guys doing gain-mixing and sent themselves to hell and back. Correcting a wrong gain-structure during the show is a pain in the a.. for everyone taking part.

[@Владимир_Ильин]

I agree with you, first the approximate project of sounding the hall is evaluated, then the sound reinforcement system for the hall is installed. At the same time, the modes of its operation and coverage areas are probed. Then a system for capturing sounds and signal control, a control sound of the proscenium, etc. is installed. After that, the microphone setup rehearsal begins. This is where the modes are adjusted and the microphone string is prevented, the processing effects are adjusted for the performer, etc. The last operation is the correction for filling the hall and fixing the settings. Cover locks and guards should help you.

[@johnb4871]

In Kyle’s other videos he recommends setting gain with meters but I think I get what he’s saying here. I’m not that experienced but have found that it has been easy to overboost gain if just depending on meter reading. That is, I’ve had to bring the faders way down to compensate for what seemed like a reasonable gain reading ( his recommended minus 12 dB max). As I’m still climbing a steep learning curve, I’m open to trying various methods to get a workable live setup.

[@oliviersadoulet337]

@@johnb4871 I saw a lot of people wondering so here is a fast recap. Each time you double sound (electrically, not accousticly) you gain +3dB (+6 accousticly). Your master can NEVER peak over 0dB, anywhere. Basic setup is to have around -18dB on each channel as then you can have 64 channels and be at 0 (2 chan -15, 4chan -12, 8chan -9, 16chan -6, 32 chan -3 and 64chan 0). Ofc you never have 64 chan at -18 together wich gives you well enough margin to be safe. Faders sensivity isnt linear so you want your faders close to 0 to have the best sensitivity (not sure its the right term but look at the numbers next to them you'll understand :D). Most "serious" console pre amps are based on this, not sure where the idea of having higher gain means best lvl/noise ratio comes from. Most serious analog amp work best at max level (on the amp) so you will have to adapt your send lvl(s) from the console. For less professional stuff you will have to listen to your system and find the best ratio between pre amp/console/amp lvls. Use headphones to listen to your pre amps and your ears for your amps, console should be pretty transparent so use your master(s) to adjust.

[@TheFendertak]

Hello Kyle, I am a singer musician Dj for over 40 years and still at 54 years old learning about sound 😉 I have seen a few video clips on properly setting your sound and by far you really do explain this very very well indeed, now live music has returned once again I have been looking into buying a new speaker system and really with the choice thats available it's an absolute minefield of confusion due to the marketing propaganda each audio company goes on with, Kyle you being a sound engineer and how great you can bring your tutorial across to us musicians and singers, and Djs, well let's concentrate more on singers and musicians, Right now I own the Dynacord Powermax 5 pa system which has played many venues big and small for the past 13 years and still today going strong, connected to Dynacord Cms 1000 desk, lately I bought 2 yamaha stagepas 1ks out of watching many videos on how great they are, yeah there ok for small pubs, but still I end up setting up my Powermax 5 next time I'm performing in that small venue, so really yamaha stagepas 1ks are not all that great, I'm looking now at selling them and possibly going for the Evolve 50, or Bose F1 812 and F1 Subs , but I'm not forking out big money Less I know that what I'm buying will surpass the old Faithfull Powermax 5, sorry for going on here, but I'm sure a lot of musicians out there want answered too to this, every speaker audio review seems to only really cater for Djs, we need someone to be completely honest and know what their talking about, and really a qualified sound engineer with full in dept reviews would make it a lot lot easier to buy right, I've have only come across this video clip now and have subscribed and look forward to viewing more of your you tube videos, perhaps you do already reviews on PA and speaker systems?

[@NonnyStrikes]

I'd say messing around with stuff after watching vids like this....will really propel you into greatness. I didn't know about the feedback part, but it's exactly what I did to fix it. I turned some mid's down around 4-600 and cut the low end out up to 200. There is a nice clear signal without any effort by the vocalist. Put some in-ears in, and you're easy saililn. Even without, you're good, just better hope you have good timing.

[@GuYGT001]

Tons of thanks from me!!! I've made mistakes for a year!! at fitness instructor I always try to boost every channel main, music , mic too high (over 0 db) I just understand that have to adjust to 0 db on every channel and always get a limit sound on amplifier every time that so very annoyed!!! I really love you!!!

[@AudioUniversity]

Glad to hear that! Check out this video for more info on how to set gain levels: kzbin.info/www/bejne/inSleayph7tnrNU

[@jjfrank09]

Thanks for the knowledge...the best part of the whole production is the dented 58...I'm going to watch all the other free videos you you mentioned

[@MrLunkhead]

This is honestly the best and most informative Sound System tutorial I have yet to see on KZbin. Good job!!! :)

[@AudioUniversity]

Thanks! Glad you enjoyed it!

[@jessezepeda3990]

I love your way of explaining the Info. Please keep the Information coming I've learned alot from you over the last year. Stay blessed!

[@AudioUniversity]

Glad the videos are helpful, Jesse!

[@brandonbillings1295]

Good shit buddy....been looking for a video to show my guys in my band. This is gunna help the other guys get up to speed about how proper set up and leveling can make or break a performance of any sort.

[@scottbloomquist8637]

I know all of this and beyond but you sparked my curiosity. One thing I continually struggle with that you might want to mention. This problem only presents itself when it's too late, that is power. My system requires at least five 20 amp circuits or if I'm able to hook up my 3 phase 100 amp spider box I'm good. If not I have very heavy gauge long extension cords to seek out the necessary outlets in other rooms, but you have to know what's on those circuits as well, there may still be a problem with not enough available amps on that circuit. Also the problem with this many different circuits, ground loops and some device creating noise can become an issue. It's a very good idea to know the amp draw for every component. Example my sub amps are class D so they only draw 12 amps each. Right there I can't have more than one per circuit. Granted it does depend on how much you're cranking it. It's good to know the amperage draw for playing low and high....my two cents

[@AudioUniversity]

Great tip, Scott. Thanks for sharing!

[@michaelsanquina6197]

hi im from philippines i always watching your sound tutorial channel i learn a lot of things thank you for always uploading new videos God bless bro.

[@AudioUniversity]

Thanks, Michael!

[@jonhcontreras]

u explain things very well.. your parents raised u well 🌞

[@AudioUniversity]

Very kind of you, Jon. Thanks. I'm glad you found the video valuable.

[@prafulc7201]

Very good setup instructions. I would recommend sound engineers to watch this video over and over again. Wonderful!!! Go to 5:31 for Step 6 to understand the order of adjusting the knobs.

[@icon.hiphop]

This is some of the best educational content on the internet

[@kendalljoshua]

Thank you, this was the final step I had to get down before going out there, and you explained it perfectly. 💪

[@PeterTessensohn]

Thanks!

[@RafaelUnplugged]

5:56 I never did it on this order. I usually did gain first. To get signal to show green light / before clipping. Then slide up the channel fader Then slide up the master. But the reverse also makes sense to amplify the sound to the room. Sometimes sounds are way too loud for the room or the reverse. Boosting the gain when the speaker level is set with the music actually does make a lot of sense. No need to pump too much gain then drop the fader to compensate. Wow. 15 years of gigging haha.

[@mukudlg]

Thanks

[@AudioUniversity]

Thank you!

[@chrisharper80]

Pro tip #1: Guitar players always want to use the XLR output on their amp instead of a DI box to get the tone of the amp and the FX in the mains. Some amps are wired with pre-master volume XLR outs but some are post-master. Make sure they can’t (or won’t) mess with the front of house signal by constantly fiddling with their amp volume. Otherwise you will have to keep trimming the channel constantly. If they need FX and amp in the mains, using a mic on the cabinet may be the best way. Pro tip #2: Choose the weirdest or most obscure song possible to test the PA. Ideally, this is a song you know extremely well and tests the full range of frequency and dynamics, but that nobody else has ever heard of before. Bonus points for choosing a song from a genre that is extremely bizarre or out of style. Use this song before every gig for the rest of your life. If anyone in the band ever asks why you use that song, give them a totally made up, but very complicated sounding answer full of engineer jargon. This will be your trademark, and will give you instant credibility as an engineer, because it will make you seem eccentric and mysterious to musicians.

[@AudioUniversity]

Great tips, Chris! Especially tip #2! Haha! Thanks.

[@pvanb291]

For the best control on Tip #1, use their DI to go to the desk and run a dedicated mix return just for that instrument. That way, you get what you need and WHEN (not if...) the guitarist keeps on turning themselves up, ruining your stage balance, you can drop their return signal. They may give you filthy looks, but hopefully the overall performance from the band, who can now all hear themselves properly, will over-ride that! ;) Works well for bass players too, and you can even add a bit of compression or chorus to their return if they're low on effects.

[@Maydoggie]

@chrisharper80, I am laughing at Pro tip 2 because I used the same tactic except I was explaining interest rate risk management. By the time I finished giving them a couple of sentences of technical gobbledygook (that didn't even have to be accurate), they would usually just nod like they understood what I said and walk away. Or if they asked me to predict what interest rates would be doing in the near term, I would just say, "I think they will go up unless they go down, but they could stay at this level."

[@chrisharper80]

@@pvanb291 Great tip! To add to that, if a bass player suspects that you are backing off their return signal, the best approach is to flatly deny it, then suggest that the large audience is probably dampening low frequencies, then drop in the completely irrelevant fact that the wavelength of a 100 Hz wave is approximately 3.4 meters (depending on ambient temperature and barometric pressure, of course!), then immediately change the subject to the current drink special for the evening.

[@chrisharper80]

@@Maydoggie Exactly! The success of this strategy depends entirely on the confidence with which you make your claims. The added benefit of doing this intentionally during the sound check is that you have absolutely no reason to mislead anyone. Even if they suspect you are pulling their leg, they will find it quirky and endearing rather than dishonest. 😀

[@mcmusic6505]

I really love your tutorial. Great help to someone like me who is new to sound mixing. Thanks!

[@davie4053]

I always think that I know everything until you upload a new video. Thanks for the endless stream of informative content!

[@AudioUniversity]

I can relate to that, Davie405! I’m constantly reminded of all the things I still have to learn! Thanks for commenting!

[@ZleepyGirl]

Using this to pass a test! Wish me luck!

[@durgaramakrishnan6189]

You are so good in explaining clearly about everything in detail. God bless you!! 🙏🏽👏👏🌈

[@valentingheorghe1693]

Whenever I have to mix multiple channels together, I set the gain on every channel so that the individual average level of every channel hover around 0 dB on the level meters with PFL engaged, then use the channel faders to adjust the channels level respective to eachother and finally adjust the master output so the overall level of the mix to peak the last amber leds on the level meters. This provides the best signal to noise ratio and allows me to use the entire dynamic range of the mixing console.

[@alexk6585]

Good video Note about the power :it is embarrassing when a breaker trips of while the band plays usually ask a maintenance guy to provide 2 dedicates 20 amp circuits (out let’s) the sound system might not handle it taking into account bands amps lighting etc

[@mariolaborde5950]

This video is so well made! 8 minutes long. Good diagrams. Good job!

[@shaba1982]

Just to clear some point in the gain structure. Gain is basically a preamp. It amplifies everything, what happened before it. If U amplify at the first possible stage (mainly at the mixer input channel, but sometimes U have some juicy mic preamp) as much as possible U only amplify the signal and the noise before THAT stage. If U amplify by the speakers power amplifier (last stage) U amplify the signal, and EVERY noise in your system. This is the basics of improving Signal to Noise Ratio. Some other issues to consider. 1. Your mixer preamp, or any kind of preamp is a better quality amplifier (linearity, freq response, distortion) than any of the power amplifiers at the end stage for sure. 2. Every equipment which is integrated into a gain stage (EQ-s, dynamic effects etc.) is optimized to work near its operating point. Ineffective gaining at that stage can screw the linearity and/or effectiveness of that gears. So for the best performance: First U switch off, or mute all of your speakers! U gain the first input stage(s) to the point when it (they) starts clipping (I know it sounds weird for the first time), set channel faders to 0 , now U pad (with fader) your mixer output till it also starts clipping. U go to the next stage (inline EQ-s, Crossovers, System processors, etc.) and do the exact same procedure. When all of your inputs and outputs are clipping exactly together, then U make a decision how much headroom U will need. Most of the time the 18db difference between clipping and 0 level is far enough so I recommend to go back on the first stage(s) to 0 or somewhat over 0 (analog equipment) or somewhere to -12-15 db (digit equipment), but U can choose other value as well. And now its time to switch on the speakers and set the desired sound level at the end stage (or processor output, if its the last possible setting point). As far as your end stage works around its operating point U only set the volume there. If U lower the speaker volume with more than 20 db and its still too loud, than your system is oversized for the venue, in this case U can set a bit lower level at the stage before.

[@Jonobueno]

Thanks For the great advice. I've got a simple system to set up in a hotel using its own FOH amps and hidden speakers. And both of my awesome audio engineer buddies will be out of town.. Your advice is really appreciated. Liked and subbed.

[@AudioUniversity]

Glad to help, Adam. Good luck at your show! Thank you for watching, liking and subscribing!

[@joyparakka5572]

Thank you dear Kyle for sharing some very intricate and immensely useful information wrt Sound management in the music industry, Much appreciated!! Am still learning. Always looking forward to your informative videos.

[@successfulvictorypublisher6090]

Superb instructions and very useful tips Sir! Great job -- God BLESS you!

[@MichaelKinder-f4e]

You make everything sound manageable!

[@samthevideokeman757]

Helpful and great tips, Kyle.... Keep it up, Bro !

[@stevennettles9364]

Great tutorial.Im a experienced.. Road musician And I can't emphasis this enough, to younger musicians. The fundamentals of a great sound starts Here m

[@AudioUniversity]

Thanks, Steven!

[@johngembka7052]

Just curious about something you mentioned in this video and another one I saw earlier in the day. When it comes to bass guitars, I’ve connected bass guitars to the mixer a few different ways depending on the situation. I’ve used a DI box, I’ve connected the bass amp direct to the board when the amp had a direct out, I’ve put a Shure Beta 58 or AKG D112 in front of the bass amp, or I’ve simultaneously done two of these things. For example, bass to board via DI box and a direct out from the bass amp. When it comes to acoustic guitars, I’ll connect the guitar to the board via DI box if it has pickups. If no pickups, I’ll put a mic on the guitar. When it comes to electric guitars, I’ve always put an SM57 in front of my guitar player’s guitar amp. Actually, I use a pair of SM57s because he likes to run his rig in stereo. The thing you’ve mentioned in a couple of your videos is to connect an electric guitar to the board via a DI box. I have never, ever done that. Why do you send an electric guitar signal direct to the board via DI box and bypass all of their pedal effects, tone controls, etc.?

[@oluwatobiadegoke13]

Great videos you have on your channel. I'm not a sound tech but I do want to know about sound mixing so that I can set my guitar myself and get the best sound. I've subscribed to your channel because I've got no time to waste. Well done once again!

[@AudioUniversity]

Welcome! Check out this video for some guitar tips: kzbin.info/www/bejne/aZ69ooGoirZmfM0

[@tristansacousticcover8388]

It will help.a lot to me..Because im beginner in Audio and ights system..thank you😊

[@stubborn_otter]

Totally got value out of this one! Thank you so much!! 🤘

[@GEMINDIGO]

Another useful and informative video presented in a down to earth manner - Thanks Kyle -

[@AudioUniversity]

I appreciate that, Gem Indigo!

[@lorenvguitar614]

Great video, I would recommend this video to anyone new to setting up a sound system. He covers things very well.

[@AudioUniversity]

Thanks for that, Lorenvguitar! And thanks for watching!

[@ZleepyGirl]

I got full points! Thanks Kyle!

[@AudioUniversity]

Nice! Glad to help. Well done!

[@keinguye]

Very clear and thorough instruction Kyle! Thank you!

[@yungifez]

That Allen and heath mixer looks solid

[@AudioUniversity]

It’s a powerful mixer! Thanks for watching.

[@yungifez]

@@AudioUniversity dude I've literally watched all your videos today I'm an intermediate and I picked up so much

[@richardpowell4667]

Hi. Some useful points again. Great section on placement, cable running, etc. I was under the impression we should *always* use a DI box between a computer and the mixer - especially since a computer is NOT a line level device. Something to do with voltage differences and the fact that the 3.5mm to jack/rca was meant for 'hi-fi' stereos and not mixing desks. Just because it *can* fit and has an adapter, doesn't mean we can *use* it. Also, if you're using a computer or other device with a 3.5mm plug you should have the output volume no higher than 80-90%. This part may be related to the point that we 'shouldn't' use 3.5 to twins. Connecting devices to a mixer when it is ON is *only* OK if the mixer has a MUTE. Otherwise we should always plug in and turn on in the order of Devices/Wireless mics, mixer, speakers. Also, you didn't mention it here, maybe you have another video on how to turn it off, but we need to turn off in the reverse order.

[@yamidachannel]

you should always use a DI when you are connecting the PC through a XLR cable (usually on an adapter) even without phantom power

[@sampsonaborah1190]

Awesome presentation Bro, precise and clear

[@shivkumarnadar4893]

Thank you sir your tutorial made my sound system tuning very easy and smooth working thanks again 🙏

[@wilnewyork1]

Hey Kyle, I have watched a lot of your videos and I like the ease in which you say things, you make everything sound so easy when it's so difficult on our side. If I want to start my own DJ gig for house parties, what brand and type of audio mixer should I buy? I want something not cheap but not too expensive either, but something that produces high class sound, thank you...

[@AudioUniversity]

Thanks, Scrappy Coco! I can’t recommend a specific mixer, but this video might help: kzbin.info/www/bejne/iHeqmnR6aNF5qtE

[@mrcrumb4302]

Your gain-staging is a bit mixed up in my opinion. You certainly shouldn't be doing it with the faders up. Do a pre-fader gain stage and use the meter to check you'r not going higher than amber. Then you can bring your fader up for the mix level, and not touch the gain again.

[@vitorusso3964]

Well, it seems that you prefer using your eyes to do a gain stage... I think it is prefereable using the ears, so you should do the gain stage with fader at 0 dB, so you can hear the sound you're amplifying while doing a visual check on the meters

[@mrcrumb4302]

@@vitorusso3964 For me, gain staging the mixer is more about getting the voltage right. It's not about 'ears' at this point.

[@GeraldWilhelmBradenComposer]

I'm not sure about the exact part of the original video hear that you're talking about oh, but I can tell you this. There is a little difference two doing your game staging live, and doing it in a recording studio. When I am checking the input attenuation on each and every channel of my mixer at a live performance, I will only have the channel fader up a small amount. I we'll ask the vocalist, musician, drummer Etc, to give me a very loud signal to ensure that there is no clipping on any channel at the input stage. That way I know that I am sending a clean signal on every channel of the mixer to the main output volume faders, that are feeding my front-of-house system. When you do this, you don't have to constantly monitor your input attenuation on each Channel for the rest of the entire performance. The only thing you will really have to do, is to make sure the sum of all the Channel faders is not any higher then Unity on your main output faders going to your front of house. If you do this and make sure you are not over driving your amplifier or powered speakers, you should have a clean mix out front. Though as a recording studio engineer, I always started every recording session buy running a 1K test tone into my recording console to check and make sure that each fader level at Unity was giving the exact same reading on each Vu meter for every channel on the recording console. That is very important for continuity when doing recording sessions oh, and also helps you keep that continuity with each upcoming recording session. After I do the channel fader and Vu meter test, that is when I began to test the input attenuation levels of each track I am going to record. You can do this for a recording studio, because you were only doing one or two, or a few tracks at a time. You can adjust your input attenuation on each Channel as you are testing for recording, and make any adjustments that are needed before you record. You don't have the luxury of doing this with a huge live mix where everything is coming into the mixer and out to the front-of-house mix all at the same time. 😃

[@aibluefox4309]

That's how I was taught - basically that the gain control's job is to trim the input to achieve the best signal to noise ratio, SNR, without distortion. This trimmed signal is then the best quality to pass into that mixer channel and any pre-fader signals are routed with the best SNR as well - and don't change when you move the fader. But, hey, I'll give anything a go, and will try it this way, it wouldn't be the first time in music history that ears beat the text book!

[@raycampos7597]

You are correct Mister Crumb, I also noticed

[@stanleymaheka]

thank you for the information its so helpful and looking forward to listen to you again

[@diaz8588]

keep those videos coming man

[@dilipmacbookssaparamadu3522]

amazing presentation ... clear voice

[@OskarCzechowicz-OmniMusician]

Why mix with gain instead of faders? As as I know, gain = sensitivity, which should be adjusted to highest expected peak and not be touched anymore.

[@CadePedersen]

By doing this it gets a god volume out of the mic. You are correct about the sensitivity, but he’s getting started by doing that. Then during the event he’ll mix with the faders!

[@AudioUniversity]

That’s exactly right, Cade. Oskar, the faders will be used to mix. If your overall gain staging is set up properly, setting the levels as you described should give a good starting level for each input with the faders near unity. You can then tweak the mix with the faders.

[@towlermedia]

Really appreciate these videos. Very helpful!

[@AudioUniversity]

Glad to hear that! Thanks!

[@willstvvlog9438]

Thank you sir. For sharing your very clear explanation about sound system.

[@nanoIQ]

Once again, great video from you. Thank you!

[@AudioUniversity]

Thanks, nanoIQ!

[@cryptoparking]

Hi, I appreciate your content and especially how easy is to understand your videos. Am new and starting to get gigs as a live audio engineer and I was wondering what the process is before you even start working with a venue, band, or client who hires your service? Do you guys hand out a form? or contract? and what are the most important questions or requirements you write in your contract or form? It would be great if you guys could make a video about this subject!

[@wally7856]

The first thing I do when checking out a new venue is scope out the power available. How many outlets, how many circuits, where is the breaker box, then I meter each outlet for voltage and use a three light tester to ensure outlets are wired properly with correct ground.

[@cryptoparking]

Thank you!

[@solro1979]

Good vid but I thought you should adjust the gain first with pfl then use faders for the mix?

[@AudioUniversity]

You can also do it that way. I will use the PFL first if I'm concerned with the audience hearing the sound check. If there is no audience, I usually skip that step (but there is no right or wrong way to do it.).

[@solro1979]

@@AudioUniversity awesome thanks for the response!

[@BryanBowser]

@@AudioUniversity This is the second video I've seen where you're adusting gain for volume instead of signal strength. Most of the other instructional videos I've seen use the gain adjustment and PFL to ensure a good solid signal which doesn't clip and not as a voume control which the sliders (mains) or aux sends (monitors) provide.

[@AudioUniversity]

I’m not adjusting the gain like this though out the performance. I just get the signal to about the right level with the preamp initially and then mix with faders. Sometimes there is not a meter in your mixer, so you’re forced to use your ears to determine the correct gain setting based on the output of the system. If your amplifier is set to the appropriate level, this will ensure max signal to noise ratio while maintaining adware headroom.

[@uweschmidt8772]

@@AudioUniversity I do not know a mixer without any metering, even if it is only a clip-led (let it clip and then turn the knob one clock down e.g. 12 o'clock to 11 o'clock).

[@djjazzyjeff1232]

This is excellent information, that I REALLY wish I had access to when I was younger. Excellent stuff, all your videos are great! 😀

[@AudioUniversity]

Thank you!

[@jerialice]

Thanks it helps to remind myself of procedures.

[@ixamedia6572]

Very thorough, Very helpful. Thank you!

[@nabi_tilldawn]

I just found out this. So excited.

[@rmjb]

This video is 2 years old but still excellent. I have a question that I hope someone can help with. In this guide and in the other mixer guides you mention to set the master fader to unity when setting up. How does this change for a powered mixer?

[@maytsehay9145]

YOU ARE THE GREATEST.

[@AudioUniversity]

Thanks for watching, May!

[@TrustKatunga]

This is a place to be....how do we mix keyboards on the mixer during live performance?

[@davidsaseyi]

Thanks for the help man God bless you

[@rustfeather1070]

Great tutorial. Thank you for doing this!

[@AudioUniversity]

Glad to help, Rustfeather!

[@skymakai]

Nice tut. Just needs to describe subwoofer out routing.

[@Sikhlobhaiyo]

Thank you so much buddy, u helped me a lot, keep making videos😊

[@liling2008]

Hello sir watching from the Philippines thanks for more information

[@aaronwesly9927]

Can you do a video about the electric sources for a church sound system design?

[@UCS0608]

3:57 "a line input device that could be a smartphone, laptop or something like that... ". Me, being old school, would have said "a keyboard, digital piano or something like that".. 😉 But, this is a good video for those that are unexperienced! 👍

[@polygonalmasonary]

Mixer/amp or amplifier to speaker connection should NOT be done using shielded microphone cables. These will create resistance to the output signals and they will get hot. In this video the set up is using powered speakers, the amplifiers are built into the speakers rather than the mixer or as a stand alone item. 👍🇬🇧

[@soccerking710]

Solid vid bruv. Much appreciated

[@AudioUniversity]

I appreciate you watching and leaving a comment, don sam. Thanks!

[@speakertreatz]

thanks very much for uploading

[@edwardbannor8857]

Thanks for the info, how do you connect main speakers with subs. Moreover, how do you put your bass guitar and kick line out into the subs.

[@yuqiwang4158]

Thank you! You saved my lifeeeeeee!

[@djskratzprofessional]

If you place the mixer or DJ's booth behind the speakers, you will not able to monitor the sound that comes out from FOH, you cannot here it if it still sound good or not... Coz there's are different kinds of voices of each people while on the microphone 😊

[@somasungaming9048]

Literally exactly what I’ve been researching for the past couple of days. I figured it may be this easy but I always like to make sure in case I miss anything. Question: Is this basic setup universal among all mixers? (analog and digital) And as for mic kits like Shure GLXD’s, the receivers just need to plug into the input via XLR correct? I think I have it figured it out but like confirmations before we buy equipment.

[@AudioUniversity]

Q: Is this basic setup universal among all mixers? (analog and digital) A: Analog mixers tend to be very similar, while digital mixers have a larger variety of layouts and features. Q: As for mic kits like Shure GLXD’s, the receivers just need to plug into the input via XLR correct? A: Yes. That's right. The Shure GLXD receiver has an XLR output. Thanks for watching! You might find this video helpful: kzbin.info/www/bejne/iHeqmnR6aNF5qtE

[@somasungaming9048]

@@AudioUniversity do you have a video on building a rack for stuff like the GLXDs?

[@AudioUniversity]

Not yet. That’s a good idea though! What would you like me to cover in a video like that?

[@somasungaming9048]

@@AudioUniversity so I have no idea about it but it seems like we have to build our own? So maybe go through a in depth list of everything needed and what to look for when purchasing a case, mounting pieces, tools, etc?

[@somasungaming9048]

@@AudioUniversity oh and if you could over how to connect everything to the sound mixer. I noticed at an event that a team had placed the receivers behind stage but sound mixer at the opposite end. If that can be explained as to why if there’s a reason I’d appreciate it🙏

[@JDMakesNoise]

Amazing Video!! easy to unpack and follow along.

[@2.0vikramsingh2]

You give quality content I am your new subscriber

[@Rexy1978]

Awesome video, very helpful 👍

[@AudioUniversity]

Thanks for watching, Peter!

[@Rexy1978]

I actually tried this straight after watching your video and what a difference. I’ve been doing it wrong for years.

[@eleendlight]

So good 👍 👏 Please can you do a video on how to set up sound for KZbin live stream 🙏 I would highly appreciate 🙏

[@AudioUniversity]

Hi, eleen! That's a great suggestion. What would you like to see me discuss in a video on sound for KZbin live streams?

[@eleendlight]

@@AudioUniversity Thanks for your prompt response. I would like to see a beginner friendly video on how to sing covers while livestreaming using already made instrumental and or using a live band. Whenever I try to record live it doesn't sound right at all so I just record In a studio. So I would like to know budget friendly set up that is, most have instrument and gears needed etc. I hope this explanation helps.

[@tinwinlwin1005]

Great . I want to learn from you lessions. thanks alot.

[@tendaikozah1501]

big guy u are so clear....u are that good

[@davidbrucemusicvideo]

Good stuff, but it would be nice if you could do a video like this for people that play guitar and sing using a microphone. People that do that aren’t going to be checking the sound levels on the PA system using Spotify on their phone or computer, etc. 🤔🧡

[@AudioUniversity]

Thanks! I would say the same principles and steps apply to any live sound setup. Playing music through the system isn’t necessary, it’s just a way to optimize the levels and gain structure. What is gain structure? Watch this: kzbin.info/www/bejne/inSleayph7tnrNU What type of PA system are you using?

[@ashoknalamalapu259]

Clear and concise. Gratitude to you.

[@Shiblu-h9g]

I have come across numerous guides, yet none of them actually demonstrate the process after the setup.

[@lpstd13]

Great value tutorial, thx a lot

[@DartsandHipHop]

Excellent video. Suprised subwoofer was never mentioned. I connect out of my master to the sub and then up to the tops. Is that what you recommend also?

[@AudioUniversity]

It depends on the control you desire. In most cases, setting it up as you’ve described is a great way to go. Alternatively, you can run the subwoofer on an Aux so that you can control which inputs (and how much of each input) is routed to the sub. Great question! Thanks for watching, Steve.

[@DartsandHipHop]

@@AudioUniversity wouldn’t the sub be getting a full, non crossed over signal running from an aux or booth? Isn’t the idea to run a full signal From the master, to the sub input, than send a crossed over output to the tops at 80-100hz?

[@AudioUniversity]

In both of these cases, the sub would be receiving a full range signal. However, you’re correct that the sub pass thru often has a high pass filter to crossover the sub/main. If running subs on an aux, you’ll want to consider where the sub and mains crossover will be. Most powered speakers have crossovers built-in. The question is: does the built-in low pass on the sub align with the built-in crossover on the mains.

[@winglau7713]

Thanks for a great introduction and the invaluable information.

[@yaboi_jaydakid]

Can y'all please make a video on setting up multiple pa's? I don't want to daisy chain them

[@edmiller6864]

Great info - just one question with using a DI box, does the box have to plug in close to the source (phone/laptop etc) and then run a long cable to the mixer, or could I run a long cable into a DI box that was positioned closer to the mixer?

[@AudioUniversity]

Great question! The connections prior to the DI box should be kept short. The long cable between the DI and mixer.

[@khojistan]

Brilliant. Will make a checklist from this

[@AtOddsAlways]

Very well done! Lots of really good info here for anyone "new" to audio.

[@AudioUniversity]

Thank, Joel! I appreciate you watching!

[@geffrandezatibagos9090]

Nice video Sir, may I know what is the purpose of a DI box? Thanks

[@AudioUniversity]

A DI box is used to transform a high impedance signal (like from a guitar pickup) to a low impedance signal. This helps in a few ways - one of the most important things it does is creates a balanced connection that can travel over a longer cable length without excessive noise. Learn more about balanced connections here: kzbin.info/www/bejne/qJjJi5Vnpap8qLc

[@geffrandezatibagos9090]

@@AudioUniversity thanks a lot 👍