Mixing at Unity; a deeper look into why it is considered a bad practice (Part 2)

We look deeper into the practice of "mixing at unity", or sometimes called "mixing with faders at 0". This video is a follow up of the first video we did covering the practice of "mixing at unity".
In this part 2 video, we look into how consoles are created and why "mixing at unity" could be a "backwards" way of mixing.

[@Itsyaboydabarber]

The increments by which the volume is affected by the gain is greater than that of the fader. The gain also affects the monitor levels. Therefore if you're adjusting gain during a performance, you're looking for problems with feedback and changes in the monitor mix.

[@Gladingson1]

Good explanation by all standards Stage Left Audio

[@XIIMonkeysMusicGroup]

Very well put! I have a hard time trying to explain this to people!

[@rickdeaguiar-musicreflecti7692]

Thank you so much for this tutorial. Excellent :)

[@stageleftaudio]

Thank you for your comment!

[@arniepoitras]

this is about signal to noise ratio adjustment with the gain knob you adjust signal level to just below noise so that the fader can be used in that level below noise entry

[@colemartin9077]

Also my messing with the gain constantly, your monitor levels will be messed up constantly. Well said sir!

[@oizukitom]

Thank you. Beautiful explanation.

[@rodjewell2300]

Thank You very much. This was very informative.

[@stageleftaudio]

Glad it was helpful!

[@brianlebrun2382]

Thank you for this video. How you described your setup is exactly how I set my boards up and yes, I've been told by some who shouldn't have an opinion that I was doing it wrong. I own a 16 channel Mackie, a 16 channel Presonus and my work board include an Allen & Heath Mixwiz and an Allen & Heath SQ7. I set them all up the same way. When I was hired by my church to run our 35000 watt system the live stream aux was set to unity all the way across by whomever it was that set it up originally. That's been changed since I've been there. There's no substitute for gain staging whether it's a mixer or even my guitar rig. Great video.

[@stageleftaudio]

Thank you for your great comment. And you are right, there is no substitute for gain staging.

[@Thomas.Hoermann71]

I could not agree more. 100% right

[@mickeymiguel2726]

Excellent clarification 👌

[@stageleftaudio]

Thank you 🙂

[@johnmcquay82]

Mixing at Unity is not something I personally do. I have a friend who mixes at unity for theatre and in that setting when the sources are almost exclusively voices and all the microphones are the same, I kinda see why as it makes things a little more predictable for him. For live music on the other hand, it makes no sense to me to mix at unity.

[@JackCarverMusic]

It's definitely an odd approach, doesn't make sense to me. If someone's argument is 'I want to pull the faders back up to zero' my response would be, mute buttons exist for a reason mate 😅

[@waterknot1]

Unity is useful for calibrating the throughput of a console so that you have an understanding of where clipping is based in large part on fader position. If you have the console to amplification interface calibrated so that the fader level relates to a loudness then you can more easily have your faders in an optimal range, but once gain is set the faders are for mixing.

[@JeffD63]

I like your explanation/definition of the total output chain. I do that for a festival I am in charge of the sound system. Clipping can be at any stage in the game! I have direct interaction with people at my mixer boards. I'll give a first-hand experience of the Gain/Volume knob violation at the end. I run 2 Yamaha MG-20 mixers separate but also daisy chained as my board. I tone each channel for PFL (All 32 CH's every time). I follow that thru each board and channel set to unity and adjust my speakers -4db. That makes it so unless someone thinking they are helping plays around with ANY of the faders they can't clip my speaker towers UNLESS someone messes with a channel's gain! Now that my gains are set, I set my faders to what the audience likes and I wont cry when I hear that crackling buzz coming from a stack. 3 different types of audio on both days. Friday day 1 is BT from Spotify for background music till the pyromusicals start then a feed thru 1 or 2 channels (mono or stereo) for each show. we use 4 EV 1000w speakers for the audience on a Friday. Saturday day 2 BT ...music, till a live band hop on stage. I don't take gain all the way down. turn off all channels not used and do a sound check thru PFL for each channel the band uses. I use my peak/clip lamp on each channel for on the fly IF my channel is too hot on the input & tweak down the gain as a last resort. Now the pyromusicals are the main event last year was 10 individual shows. This day uses twin stacks of JBL 932LAP with 918SP base. So here is the "I cried" incident. I had it all setup. The main day (Sat) went beautifully. Did a sound check with the band & the individual people from the shows that had their audio ready for the check. During one of the pyromusicals the person thought their music wasn't LOUD enough. I caught them reaching over to adjust the gain knob on the channel that they were assigned to. My eyes focused on the back of the speakers just catching the little red light start to blink then went solid red as I slide my main faders down. What a night. It actually went well!

[@emansell68]

I see your point in principle but what I consider a unity gain setting is the condition achieved when the gain is set in PFL mode for each channel and the level meter reading is 0 dB. Obviously, the fader shall reflect this situation and it is to be set at 0 dB as well. This way to set the gain for each input compensates the different sensitivities of the sources and maximises the S/N ratio while avoiding distortion. About the difference between Gain and Fader, I think that the most relevant one is that Gain is controlling the level of the first ACTIVE stage in the channel strip where an amplifier boosts the input signal to make it suitable for further treatment and freezes the S/N to the best achievable figure (which depends on the noise figure of the input amp) WHILE Fader is a PASSIVE potentiometer at the end of the channel strip whose role is simply to reduce the level of the signal from its max value down to minus infinity dB. For this reason, provided that the gain is set in PFL to achieve 0 dB, the fader is to be aligned accordingly to unity or we loose the full dynamic range of the cursor and its most sensitive working area. As you did not tell how your gain is set, probably it is worth specifying your underlying assumptions

[@burungbaguette]

I always have plan on how loud my mix should be at the audience. For example, when mixing for a 5 piece rock band on a club, i would set my SPL to be around 85dB on the best listening location then add or minus 6dB for front to back. Then I setup my console and amps so if the console says 0dB, I knew that my volume would be at the ballpark around 85dB. Been doing that for years and I do welcome any comments and improvements on my strategy here. Edit: In this example I assume I am using analog console. If I were to use digitals, I usually aim for 16dBFS as my 0dBu. I do understand how average and peak metering works.

[@RedeyeCountry]

Well said, I totally agree

[@jimpemberton]

I've heard it's good to get your faders close to unity since you have finer control of the output levels. This is fine, but I've never had a problem with control outside of unity. In fact, I do quite well at -5 or -10. I'm glad you mentioned the difference between mics, because that's important: I have a choir array of 8 Astatic mics. I can use the Astatic modules to control the polar patterns on the fly and use the gains to adjust the sensitivities on the mics. To be clear, I'm not adjusting the volumes but the sensitivities. This is done to minimize the possibility of feedback and draw out the sound of the choir in different areas. All the mics are identical, but not all mics are being used the same way. I have two mics for general sound, two mics for an area that sometimes has people and sometimes doesn't that also has bleed from the piano, two mics which pick up only men, and two mics with pick up mostly women, but also can have a lot of bleed from drums and orchestra. So each of these sets of mics need to be set independently while acting together, and the gain staging is very important. So my choir faders look like a bike course, but they have to because the each gain needs to be set to control each mic optimally based on what each individual mic is doing at any given time and also what the array as a whole is doing.

[@stageleftaudio]

Great comment! Thank you for posting!

[@waterknot1]

At +/-10dB you're still within the relatively fine range of the fader. Once you get past that, the range starts to get wider and wider so that even small moves have a large effect when the fader is way down.

[@makstaz79]

I paid a shit load of money 15 years ago for all this information that you are giving away for free . Great Channel, very informative!

[@stageleftaudio]

Thank you!

[@alantuttphotography]

My first introduction to mixing was at a church, where I was taught the "mixing at unity" method. The reasoning there was that when you had to switch from one mic to another, you always knew where to bring up the fader to get the desired volume. Later, I did learn about gain staging, but kept some of the unity mixing pattern in setting up a board. I understand what you're saying here, and would never set a gain too low for exactly what you're saying (S/N ratios) although I'm a bit confused on why a high gain can create feedback if the resulting volume through the speakers stays the same.

[@stageleftaudio]

Good question. When too much gain is applied to a mic input (not a DI or other direct sources), the microphone becomes extremely sensitive to sound. When the sensitivity is very (or too) high, the mic can pickup a lot of other noise around it other than what it is supposed to be picking up. This higher sensitivity to sound is what causes the feedback (mostly in the monitors). For the resulting volume level, when more voltage is applied to an input, this equates to a greater output... (greater output level created by voltage, not by volume); the signal from the "sensitive" mic will get louder through the speakers (FOH and monitors). This is when you bring down the mic/channel fader to control the FOH volume or the mic aux-send for the monitor level... however, the proper approach would be to reduce the gain to its optimum level. Proper gain staging (gain levels not too low or too high) works very well with controlling feedback.

[@johnmcquay82]

The way I learned was to imagine there is a sphere surrounding the microphone; the gain control effectively adjusts the size of the sphere. The bigger the sphere, the more you will pick up with the microphone. If the sphere is too big, you'll pick up all manner of things and be more prone to feedback. If the sphere is too small, you won't pick up what you want to.

[@chrish7336]

@@johnmcquay82 This is a decent way to teach it. Simple and to the point without going into details.

[@chrish7336]

I had a sound man that use to do this and it drove me crazy. Couldn't get him to understand that unless the input signal was clipping or couldn't pick up a soft voice, you left the gain alone. When I have someone inexperienced helping me out with initial settings on a new input I have to talk them through it (not using digital yet). Can be a challenge while I am on the stage and he is on the board.

[@mikeb4595]

So I’m somewhat new to this, with my only experience being a long long time ago. So you’ve said what NOT to do and I get it. But what DO you do? Do you set the faders and master faders all the way down, set all your independent gain channels so they’re flirting w the yellow on the meter? And then bring the master faders up to a “guess” of initial overall volume? And THEN bring up the individual channel faders seeking to balance all your inputs into a good mix? Are DI’s done differently? And couldn’t you set all faders at unity, but use a PFL or SOLO button to set the gains and THEN adjust the faders as needed to mix? Would appreciate any guidance/advice! Thx, best video I’ve seen yet!

[@stageleftaudio]

Thanks for your comment. Basically, this is how to set levels for live sound. There's a lot involved with setting levels, and many times, the choice of microphone may dictate the gain level for that input. Basically... 1. Set all input faders down (infinity). 2. Set master fader to 0 db. Setting this fader to 0 db is not actually required to be at 0 db. Depending on the event I do, I may set the master at neg. 12 db. Keeping the master fader down a few db helps with controlling the overall volume level of the PA. Much too often, people tend to run their PA's way too loud, resulting in no head-room and a terrible mix. Keeping the master fader down (at least in the beginning), gives you more room to go louder if you have to. 3. Starting with an input, have the performer play their instrument (i.e. kick drum). Using the PFL for that channel, set the input gain for that input (do not bring up the fader for that input). Percussive instruments (like drums) can usually be set +9db over 0 db. Vocals are usually set to neg. 3 db, other instruments like guitars can be set the same way or at 0 db. These are all starting points for setting gain. If the stage volume is too loud, you will probably want to lower the gain a few db on all inputs. 4. Once the gain is set for that input, bring up the fader to listen to how that instrument sounds and to ensure that it is loud enough. The fader for that input is controlling the volume level of that input... not the gain. If it sounds good, leave the fader alone for that input. Move on to the next input. Only work with one input at a time when setting gain. 5. Once the gain is setup across all inputs and the fader positions are "roughed" in, have the band perform a song for the sound check. It's during this time, you set all the fader levels according to how loud you need that instrument to be in the mix. Setting levels based on an input using a microphone or a DI usually makes no difference; it's all about setting proper gain. There are times when the gain may need to be lowered on a vocal mic(s) to help control feedback. I do have some videos on my channel covering the setting of levels during events. Unfortunately, I don't recall which videos those were! But, they are out there. Hope this helps.

[@mikeb4595]

@@stageleftaudio thank you very much for the prompt and informative reply!!!

[@carlgoyal58]

Thanks ❤️❤️❤️

[@stageleftaudio]

You're welcome 😊

[@JBF-GST-Tanda]

Does trim controls, a.k.a. "digital gain" or "offset" make it possible to benefit both from the highest S/N ratio and decent sensitivity control achieved by proper gain staging and from the convenience of "mixing at unity"? It's technically possible to use the physical preamp gain to get correct signal voltage and make full use of A/D converter's sampling capability without peaking and feeding back and then use the trim control to scale down signals so that all the faders can work in their finest range of operation around unity. Or, to be simple, is it correct to suppose that the "Trim" function is the hidden "secondary fader", which works purely by mathematics instead of electronics thus doesn't mess up with issues of voltage and sensitivity and SNR and all oopsies and no-nos caused by improper gain adjustment?

[@stageleftaudio]

Good question. Once the trim (or gain) is set to its highest S/N ratio possible (dependent on the type and electrical properties of the microphone utilized, and the environment where it is used), the fader is then used to bring the level of that input up or down into the mix as needed. It's possible to leave the fader in one position (at unity) for the entire service, however, the mix (as an aggregate) will more than likely suffer. To remedy this, the fader should be the only device adjusted for correction... not the gain. The trim is not a "secondary fader"; it operates in the area of voltage, whereas the fader operates using mathematics. The gain control and fader are two separate entities and should not be considered the same thing. As an example using an automobile, the engine and transmission are two separate entities, but it requires both to move a vehicle. Modifying a transmission to get more speed from the vehicle is not the same as modifying the engine to produce more power.

[@brennanfox4159]

A fader is a logarithmic scale, mixing at -20 or -30 causes lack of nuance in your mix when one centimeter of fader move means 6DB (4x as loud). Mixing at unity allows a live mix to be fluid and subtle as your do you fader moves.

[@dustinthiessen]

There's ways of mixing near unity, and still having proper gain structure throughout the console. Mixing with groups, and doing more coarse balance at the group level, leaving faders to operate in the -7 to +3 range. Robert Scovill goes super in depth on this over on his youtube channel, and various podcasts and things he's done over the years.

[@victorolweny2276]

This is also my understanding of how the fader works. So I do gain setting according to the recommended LED signal levels for the given mixer for a good signal input, pull the faders towards unity and use sub groups to set the levels going to the main output. Main is always set according to the amp levels we have set for the house. If our amplifiers are set high we pull down main and this also depends on the whether the room is full or almost empty

[@brendonw456]

I know this is old but...your faders logarithmic scale isn't preventing nuance in your mixes *at all* unless you set your gain at a very poor level. Because dB itself is *also* logarithmic. Human ears do not perceive the actual energy in a sound wave accurately in any way, shape, or form. Our ears are terrible at it, and that is a scientific fact. So to compare, 30dB SPL would be someone whispering to you from 6ft (2m) away. 40dB SPL is the average level of the natural ambience in a library. If we jump up to 100dB, that is the sound of a blow dryer, and 110 dB is the staple example of your average rock concert (or movie theater during intense scenes). That is an IMMENSE change now. So basically, the finer adjustments around the 0 point are NECESSARY at louder levels, and the broader adjustments toward the bottom are NECESSARY at quieter levels, because...that's literally how the dB scale itself works.

[@1loveMusic2003]

Well said

[@davelongenecker649]

17:23 Good comparison!

[@stageleftaudio]

Thank you.

[@Cando79]

August 2024 watching video. You spoke long on gain structure. But...did not show how to set gain structure. So question to you. If sound tech not setting all faders to unity, where do they set faders to start setting gains for correct levels? Do you have video on gain staging?

[@stageleftaudio]

Basically, this is how to set levels for live sound. There's a lot involved with setting levels, and many times, the choice of microphone may dictate the gain level for that input. Basically... 1. Set all input faders down (infinity). 2. Set master fader to 0 db. Setting this fader to 0 db is not actually required to be at 0 db. Depending on the event I do, I may set the master at neg. 12 db. Keeping the master fader down a few db helps with controlling the overall volume level of the PA. Much too often, people tend to run their PA's way too loud, resulting in no head-room and a terrible mix. Keeping the master fader down (at least in the beginning), gives you more room to go louder if you have to. 3. Starting with an input, have the performer play their instrument (i.e. kick drum). Using the PFL for that channel, set the input gain for that input (do not bring up the fader for that input). Percussive instruments (like drums) can usually be set +9db over 0 db. Vocals are usually set to neg. 3 db, other instruments like guitars can be set the same way or at 0 db. These are all starting points for setting gain. If the stage volume is too loud, you will probably want to lower the gain a few db on all inputs. 4. Once the gain is set for that input, bring up the fader to listen to how that instrument sounds and to ensure that it is loud enough. The fader for that input is controlling the volume level of that input... not the gain. If it sounds good, leave the fader alone for that input. Move on to the next input. Only work with one input at a time when setting gain. 5. Once the gain is setup across all inputs and the fader positions are "roughed" in, have the band perform a song for the sound check. It's during this time, you set all the fader levels according to how loud you need that instrument to be in the mix. Setting levels based on an input using a microphone or a DI usually makes no difference; it's all about setting proper gain. There are times when the gain may need to be lowered on a vocal mic(s) to help control feedback. I do have some videos on my channel covering the setting of levels during events. Unfortunately, I don't recall which videos those were! But, they are out there. Hope this helps.

[@klausneumaier2236]

This is so obvious, i can hardly believe anyone can get this wrong.

[@stageleftaudio]

It's an unfortunate common practice.

[@chrish7336]

I am wondering if I missed something maybe part 1? One thing not being discussed is the difference between using Unity gain settings for prefader levels vs mixing at unity gain. I think a-lot of newer folks in the use world use the 2 interchangeably. Not all the boards have a PFL button (IE: the Mackie 12 channel you referenced). Using Unity gain is the best way to get a visual for setting the input. If I want the input levels at -12 Db as initial settings and don't have a meter to read pre fader, Unity gain settings are the only way to set that visually, but I don't mix at unity. At -12 dB on voices I can get good dynamic range without clipping the input, and it leave plenty of headroom if I need it. Using Unity for setting the gain with the main meters is the same as using individual input/prefader meters (PFL Metering). Am I wrong in this?

[@stageleftaudio]

Good observation. There is a part #1 video, but prefader levels was not referenced in that video either. The videos cover consoles with PFL metering. Very true, not all consoles have PFL metering. From a professional observation, consoles without PFL metering would probably not be used in a live sound type of setup (where proper gain is required). The Mackie 12 chnl I referenced has a green light on each channel to show the channel is receiving a signal (and the brighter the light, equates to a stronger signal), but it does not show the actual input gain. I use the Mackie for small events where it's just people talking... it is not used for live bands. Setting proper gain on a console that does not have a PFL, can be very hard. Referencing the Mackie, the gain control and the fader are two separate entities. In your example, you would need a way to determine when -12db is attained at the input by using the gain control, not the fader. Just because the fader may be at unity (0db) and the meter is showing -12db may not actually indicate if that channel has proper gain. Without PFL, the main meters are showing output only, not input. However, setting the gain based on the output of the main meters (as you referenced) may be the only way to determine some type of input level. This may work as a solution for live sound, as long as the faders are used for the mix and not the gain controls. Hope this helps.

[@chrish7336]

@@stageleftaudio Glad to hear I have been in the right mind for that type of situation. Boards I have been around (70's dad's band, MIlitary commands, churches, etc) never had the PFL's that I recall, so I learned setting up the gains using unity. I have used smaller mixers for instruments, IE: dual keyboard audio, plus pc audio from keyboard midi. Allowed me to set the gains individually (4 channels) and then provide a single output to the main mixer. Had to use the unity method for that. While systems have changed, technically the zero setting on fader and main provide an unchanged signal to monitor. I have verified this on our current board that by using unity for gain setting, I get the same reading using unity as I do PFL. So when showing new folks how to set up a new input I show both ways, never know when they might need it. Might be an interesting experiment to see if it matches up on other professional boards as well.

[@TalentLe8159]

Mixing t unity is not good and for me I use the gain as a "Signal Lifter" or a preamp and the fader is for the signal to go out

[@stageleftaudio]

Very good! That is exactly what gain does... increases the level (voltage) of the signal.

[@Gauseltown]

@11:55 Just out of curiosity, where does Allen + Heath say that you should not mix with the faders at 0dB? Haven't heard that before.

[@stageleftaudio]

Take a look at the A&H GL2400 manual. Page #24 "Mixing with Faders or Gain Controls".

[@Gauseltown]

@@stageleftaudio So what about having the faders at 0dB, adjusting every input to line-level with the gain knob, all consoles love to work at line-level, and then using subgroups to set the volume on the PA System? And adjusting the offsets, let's say for the drum set in the group, means setting the faders so that the drummix is good and you can control that drummix with the subgroup.

[@stageleftaudio]

Using sub-groups will not fix the incorrect gain settings. The gain on a console is completely separate from the fader control. Think of an automobile... it has an engine and a transmission; these are 2 completely separate entities and must be configured separately for optimal use in an automobile. Using subgroups does not correct for input discrepancies between the gain and the fader(s). Once the gain (input voltage) is set correctly for the input, the fader is then used to turn up (or down) the signal level for the mix as needed; the gain is not touched. Referencing the video, if the faders are always set to -0- (unity), then why are there faders on a console? If console manufactures believed that mixing on a console is done with the gain controls, their would be no faders on their consoles!

[@Gauseltown]

@@stageleftaudio Like I said, I gained all my channels to have the best gain, means line-level. Why is that incorrect?

[@stageleftaudio]

Ah, thanks for the clarification on the gain. Assuming the gain is set accordingly for each instrument (ie. gain is set stronger for drums... at -0- for vocals and other instruments) the faders should be used to set their FOH levels for a good mix. Once the mix sounds good (with the faders), the faders can be added to sub-groups... and the sub-groups can be used to raise/lower their FOH mix as needed. Something to think about the "sub-groups"... make sure you are using actual sub-groups and not a VCA or DCA; these VCA/DCA "groupings" control the actual fader levels that are assigned to them, whereas a sub-group controls the volume level being fed OUT of the sub-group... it does not control the actual fader levels of the channels assigned to the sub-group. Using subgroups (even VCA or DCA groupings) is common with managing many inputs into a console. The trick with using whatever grouping you decide on, is getting the gain set correctly for each of the instrument(s).

[@JoseLastrak]

Sorry to say that all this video is full of wrong concepts The faders at 0 db is the point of unity gain in your console At that point you have the seme level at imput that you are going to have at output And at that unity gain point is were the optimal internal levels are Your meters ( more if they are simple VU meters) are not a good representation of peak levels by any means For a high energy transient signal like Hi Hat your VU meters are of no help You need a really good peak meter to have a correct indication of the real peak level inside your console For other side if you need to attenuate the output of your console so much is because you have a bad gain estructure from the begging You have to much amplification after your console than you need or the reference imput level in your amps is incorrectly adjust Setting gain input with your faders at 0 and doing a basic balance don imply that you are not going to mix with your faders at the show Faders serve for mixing because they can atenuate a signal or amplificate the same signal if its needed If you have a good musical balance with your faders at 0db and you need to make louder some instruments in a part of one song ( for a guitar solo for example) you can do it with the fader because you have +10db at hand to do it When the solo is finished you can return to the cero point and have the same level as before You dont need to change your cjannels gain all the time during the show ( only perhaps at the begging of the show if the musicians are playing louder than at rehearsal time ) In digital consoles the meters dont read analog levels only they are an indicator of bit resolution Normaly digital console meters are of no real use in a live environment ( in fact several digital consoles, like the Avid ones provide a personal adjust for metering reference levels, for the desired amount of headroom set by operator ) to adjust your gain Digital consoles ( all of them ) have a lot of clean gain before distortion and really low level noise at the mic preamp and AD converter . You dont need all the resolution of a 24bit audio system to represent whatever analog musical signal you dreem of . All music material , including the most dynamic one , is posible to be reproduced with perfect accuracy with only 16 bits The extra bits are there only for headroom. Every 6 db correspond with a bit of resolution In that way a signal as low as -48dbfs equates at 16 bits of aduio resolution In that way whatever audio signal between 0 dBFs ( a lot of console manufactures provide a little headroom between 0dBFs and analog clipping )and -48dBFs is capable of a signal at the output converter clean with no distorsion and free of noise Best regards

[@stageleftaudio]

Thank you for your comment. Interesting points.

[@paulmaldonado3177]

Show us the right way please

[@stageleftaudio]

See the comment below for "mikeb4595".

[@johnbrion3092]

Been mixing since 1979 and I think you are misrepresenting what unity-gain structure is and then attempting to resolve a better way. I've taught 100's of new engineers and I would not have used your examples to teach a unity-gain set up. Isolated you may want to mix a different way but create a system where 10 different engineers can walk up to the desk and jump in on it is another matter. I stopped watching at 6:00 minutes. I was looking for a video I could send someone but this is not it. By not bringing your master fader and channel fader to unity, you are making up for it and adding more pre-amp noise than needed. One can usually bring the fader down to a chosen mix level after the unity gain is set.

[@stageleftaudio]

Thanks for your comment. Just to make sure, the video is NOT about how to setup a system using the "unity-gain" approach. The video covers why unity-gain mixing is considered a bad practice. I can understand your comment on why you would not use this video as a teaching example for unity-gain mixing.

[@johnbrion3092]

@@stageleftaudio Your terminology is off. My comment was not use this video for unity gain "setup" whereas you are thinking "mixing". Unity gain is not a mixing method and it never has been. It's a method for setting up pre-amp gain. Your comments in the video often refer to this as a mixing method, right or wrong, it confuses.

[@stageleftaudio]

Thank you for the follow up.

[@galinakasymova1609]

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[@stageleftaudio]

شكرًا لك!

[@galinakasymova1609]

@@stageleftaudio Thanks too from KARAY. Tsakhurar ailetiy min KARAY جميل ما شاء الله SHUKRAN JAZILEN from KARAY

[@ara5823]

Any food on here doesn’t mix zero doesn’t have a clue what they’re doing or how to make sure what gauge structure is look up any professional large format for a house engineer, and check out their consuls and why their faders are

[@nickloss2377]

first of all, proofread your comments before hitting send. this video was trying to outline the benefits to proper gain structure versus the incorrect practice of ignoring SNR and gain structure l in order to keep faders or pots looking symmetrical or simply not being fully educated on signal flow. the presenter laid out the information in a very informative and *diplomatic* way. it's important to not belittle people that may not have had the best trainers or educators teaching them the correct methodology in the first place. instead of teaching them the proper method, you're type of comment will tend to alienate and discourage people from going further in a career that they enjoy. worse, being confrontational and belittling them could make them less receptive to hearing what you have to say. if someone talked to me or any of my staff like how you did in your comment, I'd have security deal with them. also, I can't emphasize enough.. proofread your comments because I honestly can't tell what side of the argument you're on..