Mixing at unity on consoles; is this the right way - Stage Left Audio

A look at the practice of "mixing at unity".
"Mixing at unity" is the questionable practice of mixing front-of-house using the gain knobs/controls on a console rather than the faders. Unfortunately, this is a common practice and is not the correct way to operate a console.
Adjusting the gain for any input on the console should only occur during soundcheck when setting levels. Subsequent adjustments to the gain are acceptable, but the adjustments should only be slight to correct an issue.

[@briongroupmedia]

It is called unity gain structure, not unity mixing. Know the difference. I don't know of a manufacturer that suggests that a show is mixed using the preamp gain knob. Unit gain structure does however allow each microphone to receive the correct amount of gain for that particular mic in that particular system venue setup. After the correct gain for each mic has been set via unity gain, the so-called, engineer is free to slide the faders to their hearts content and mix as how they desire. Occasionally a (again, so-called engineer) might have to go back to the top at the input gain and make an adjustment that reflects changing environment on stage but this is not called unity mixing. I'm older than dirt and back in the day there was no variable gain knob. Gain was preset and it was a problem for low output mics such as an SM57. Next came a 3 position gain switch that gave 3 levels of gain and finally a variable gain pot. Being able to use just the right amount of gain and avoid the noise floor is critical. Not setting the master fader to unity and the channel fader to unity and then setting the correct amount of gain will introduce excessive gain (noise) into the signal. EG. if the ch fader is set to 50% and the master is set to 50% then the input gain needs to be set much higher (noise) than needed and also input distortion will occur. Again, it's called "Unity Gain Structure" not unity mixing. Know the difference. BTW, we used to have to make our own mixing consoles as you could not just buy one off the shelf. The Monterey Pop Festival was mixed on a mixer made just for the concert. The host of this video might be better serving teaching how to get the musicians (with amps) to not turn their amp up when the so-called sound engineer turns the level down for that musician.

[@stageleftaudio]

Thanks for your comment. Mixing at unity (as the video title references) is the practice of setting faders at unity ( -0- ) and using gain control to mix a show. Unity gain structure (as you referenced) is setting gain structure throughout the signal chain from input to amplifier output. Unity gain structure and "mixing at unity" are separate things. You are correct, no console manufacturer would ever suggest to mix an event using the gain control knobs.

[@kavinda_srimal]

Good explanation😍😍 Thank you sir

[@CarlsOpinion]

Hey! This is a question I posted from your Center-Fill video from 11/20/2020. Thanks: "Good Morning! Question: So when you say, in your example, "30 feet for each side..." does that mean 15 feet to the left of the [left side speaker] and 15 feet to the right of the speaker?? Meaning, in your example the left and right FOH speakers would combine to provide 30 feet of coverage in between the two speakers?? So, if you had them 40 feet apart, with the 90 degree horn, you would be missing 10 feet of coverage in the center of stage, and possibly need a fill speaker?? Thanks, as always. Carl"

[@stageleftaudio]

Hello! You are correct, I was speaking of 15ft on each side of a single speaker (which totals of a 30ft horiz. coverage per speaker). In the example, this would equate to 30ft of coverage for the area between the speakers (15ft coverage from each speaker). And yes, speakers with a 90 degree horn would yield a void between the cabinets, which would necessitate a center-fill. My apologies for not responding to your question on 11/20/2020. Many times, I do not receive notices/alerts from KZbin when comments have been posted. I will check for comments on past videos, but there's a good chance I will miss them.

[@CarlsOpinion]

@@stageleftaudio Thanks and have a good day. Carl

[@Extremeadventuresandevents]

Thank u very much. Valuable info

[@Ozzy83666]

I started my journey at church in high school over 20 years ago. Never in my life have I ever known that unity mixing was a thing. Without proper training, i very quickly realized that gain adjustments was/is very finite. I always run faders, except to make louder adjustments as needed for initial setup

[@stageleftaudio]

Thanks for the comment. Good to see you were able to "see" the difference between the two. Mixing at unity is an unfortunate use of audio consoles. If you are interested, we have a follow up to the video. Look for this on our channel: "Mixing at Unity; a deeper look into why it is considered a bad practice (Part 2) - Stage Left Audio"

[@kelvinkalaluka8185]

It's 2022 and I just came across this great video. Thanks, SLA... Assuming you're using passive speakers, how should you set volumes on the Amps?

[@stageleftaudio]

Thank you for your comment. For passive speakers, it's usually best to keep the amplifier attenuators turned all the way up. This ensure the amplifier is at it's most sensitive setting. Adjusting the gain/attenuator settings on amplifiers should only be done for specific reasons. Also, we recently did an update to this "Mixing at Unity" video. kzbin.info/www/bejne/q3OWZ39_qchsmdk

[@BlazonStone]

for studio mixing gain staging in the DAW and then having faders at unity seems to make more sense than live use

[@stageleftaudio]

You are correct.

[@kemboibenjamin_]

Thanks Sir. Do a video on amplifiers also. The attenuator and matching with speakers

[@stageleftaudio]

There is a video on this channel that covers the input attenuators on amps and powered speakers. This may help in what you are looking for: kzbin.info/www/bejne/rojSZqmjibekfK8

[@kemboibenjamin_]

@@stageleftaudio thanks. Let me check it out!

[@Mersuharrastaja]

What a great Allen & Heaat, I was one time buying one, but sellerman have Spirit Live 3 with great pricepoint for me, so I got Spirit.

[@stageleftaudio]

They are great mixers.

[@sixsentsoldiers]

Did you get a free english manual?

[@Mersuharrastaja]

@@sixsentsoldiers Yes

[@AggroPhene]

revealed a fault, but didn't define solution or experience of it done correctly; not sure how helpful this is to those who have been trained to use unity as a starting point for a channels mix.

[@stageleftaudio]

The process of mixing at unity is an incorrect way to use a mixing console; therefore, there is no solution to show how it would be done correctly. The channel levels - including unity, referenced on the console, simply show whether the fader is adding more or taking away power from the signal derived from the input gain. A mix should be started with a proper gain setting first, and then the faders can be used to add/subtract the levels as needed.

[@chrish7336]

@Rick Gustin Saw your post, but you are not mixing to Unity. You are gain staging to Unity and mixing by faders. Yes I read your post,

[@dennisbeckwith5654]

nicely put, sir! use those faders!!

[@stageleftaudio]

Thank you sir!

[@darcyduncantech]

I didn't even realise people would mix with the gain knob. Does the gain knob control the input volume of the device connected to it? Does the fader control the master level of all of the FX? Thanks

[@stageleftaudio]

The gain knob controls the input volume of the device into the console. The gain can affect the quality of the signal it is amplifying into the console. The fader controls the output of that signal into other parts of the signal-path in the console. The effects for that input is partially controlled by the fader. The effect "sends" on each channel would be considered the "master" level for that channel.

[@darcyduncantech]

@@stageleftaudio Thanks, that makes alot more sense now! :)

[@reggievillaverde3520]

True

[@ronieile6356]

what is the correct way to use gain and volume fader for a live band? im using rockford mixer

[@stageleftaudio]

Set the gain where it is getting as much as it can from the microphone (or instrument) input. There should be meters on the channel or the console showing how "loud" the signal is coming into the board. Adjust the gain so the signal is around 0db (for vocals and guitars), and possibly around +6 or +9db for drums. Once the gain is set, there should be no need to adjust again, unless there is fine tuning needed to keep the input level appropriate. Once the gain is setup, move the channel faders up/down as needed to control the volume output to the main-out buss.

[@chrish7336]

To piggy back on StageLeft. Using a mixer like the Rockville RPM1470, you do not have individual line meters or a PFL button to view the input on the mains output meter. In this case, you would have to set up all gains for all channels before setting actual mix levels. Couple of different way from what I can see with this mixer. The first(if I understand this mixer correctly) will be faster but won't provide a accurate/clean visual representation. (1) 1- with the faders down, adjust the channel gain until the OL indicator starts to light up / flicker. This indicator should be letting you know that the input is clipping or has reached overload or 0 level. 2- Turn the gain knob back about counterclockwise about 6-10dB or so. This should provide overhead if the input level should increase during the performance and significantly reduce further gain adjustments. 3- adjust faders for main outputs If the OL indicator is not working in this fashion or you wish to verify it works in this way go to the next option. (2) Depending on the setup size and time to get things done, setting with amps turned up or down will be your preference. 1- set the main faders to Unity/zero 2- on the channel number to adjust set the fader to Unity/zero 3- watching the main levels meter, adjust the gain knob to the levels indicated by Stageleftaudio. Once there, leave the gain alone and mute the channel. 4- repeat #2 and 3 for each additional channel needed. 5- mix your band levels for balance and output levels with the faders. A big thing to remember is that while you can adjust gain during the performance, adjusting it changes the Monitor levels as well as the Main output levels. You don't want to mess with the monitors to much once they are set. While most newer boards have a channel level meter or a PFL Button (pre fader level) to see the input gain on the meter instead of the output level, not all do like the Rockville, hence your question. Hope this helps

[@FOHGeek]

Regardless of all the sound quality and S/N ratio things, gain knob is at the very start of the signal chain, influencing the strength of this channel's signal not only on main buses but also on auxes, groups and direct outs. Fiddling with gain knobs would certainly mess up the monitor mixes and OB mixes coming from aux buses. For digital systems in which the same stagebox is shared by multiple consoles, messing with the analog gain will even mess up mixes from other consoles. So personally I suppose that mixing with gain knobs is not just about lacking professionalism. It's absolutely a behavior of sheer selfishness, lack of respect and serious infringement to performers (and to monitor technician if there is one). It's like dimming your own house lights by hacking into the power station, throttling down the generator and therefore decreasing the mains voltage of the whole city. Nobody would accept this.

[@cjramseyer]

First off this suggests that people are quite commonly simply adjusting gain for their mix. And while doing so does adjust everything after, I think your explanation missed a key point. That being, how to use it correctly. You start with a given channels fader at Unity, then adjust gain (gain before feedback). From there, you adjust the fader relative to the rest of the mix. I have never seen anyone use the gain to adjust their mix as you have described. I train people to use Mixers, and there is a very simple explanation. Gain is NOT volume. They are not the same thing and the gain and fader serve two different purposes. If you have an input that is not "loud enough", outside of being to far from the mic, I would suggest checking that your gain and gain structure was set correctly in the first place. If gain structure is set correctly at the beginning, very few if any changes are necessary afterwards to the gain

[@stageleftaudio]

Unfortunately, many people mix using just the gain. It's heart-breaking to see consoles used in this manner. Thanks for your comment.

[@chrish7336]

Alot more people do this than you realize. And some people are just not willing to learn. The current board I am using, the previous operator adjusted everything with gain. Drove me up the wall, he didn't want to hear anything about it and I was constantly resetting gains and levels everytime I used it. His excuse was he didn't like seeing the little red light flashing which was the compression indicator to him Red=Bad. (standard mindset from military electronics training, nothing was in red unless it was bad). Now that it seems to be just me all the time running the system, I just fine tune the individual faders as needed to keep the levels balanced.

[@mrandmrsweirdistaken]

Thank you for actually giving a solution.

[@babelmusic3554]

Pouvez-vous nous faire des sous-titres en français svp

[@stageleftaudio]

Bonjour, merci pour ton commentaire. Nous aimerions faire des sous-titres, cependant, nous aurions besoin de les faire pour de nombreuses langues différentes!

[@mostaphahani6856]

💯💯✔✔😍😍

[@josephpriester8468]

The only problem with the setup up you are talking about is the constant changing of the GAIN. Which is not good at all This is what I do.. Tell me if it is wrong.. (If mixing a new band) 1. Turn all GAINS all the way Down, 2. Put L/R(MAINS) fader to Unity Gain 3. Put ALL FADERS to Unity gain Except stereo channels with No Gain/Trim 4. I get each singer/musician (One at a time) to PERFORM at or Close to the LEVEL as if it was Live. (NOT TALKING INTO THE MIC) 4. I THEN adjust GAIN with PFL/SOLO engaged (on the INDIVIDUAL channel I am adjusting AT THE TIME) to make sure I'm getting a strong signal on the meter. i.e. I Turn Solo on for Ch. 1 then Adjust Gain, then Turn SOLO/PFL off Then Repeat for the next channel. -18dB to 0dB depending on what board you are using. 5. Then I Do a Pre Sound check with NO Monitors. ADJUSTING GAIN ONLY, Keeping All faders at Unity Gain. THEN I NEVER touch the gains again. (Unless a mic is swapped) 6. Only then Do I Adjust their monitor mixes 7. Do a Final Sound Check with FOH & MONITORS. 8. AT THIS POINT If I need more volume, I can move the fader up to at least +5dB Or if something is too loud I can bring it down to -5dB or more. Basically, after my final Sound check most of my faders sit between +5dB & -5bB. Because some songs are more intense than others. Is that a decent way to do it. If not It would be nice if you did a video showing the beginning to end setup process in another video Thanks

[@stageleftaudio]

Thanks for your comment. We hope to have a video covering an actual input/line setup and check at an actual event. Yes, you are correct, the constant changing of gain is a serious problem in the industry, especially when running monitors from FOH. For the steps you provided, they look good. You have a good process to setup a mix. However, step #3 should not involve moving all faders to unity. Setting gain involves "extracting" as much signal as possible (within reason) from the source, and then moving the fader(s) up/down as needed to blend that input into the overall mix (even during the sound check). Gain level adjustments, and fader level adjustments are two separate entities and should be managed separately. By moving all the faders to unity (and using "unity", even with a +/- 5db as a mixing location) can potentially reduce the overall input level of a channel, because any additional gain that could be applied to the input level, is missed because the fader is at unity... and when people mix at unity, they don't move the faders much. For your step #5, the gain level should have already been set at step #3. When you readjust gain (i.e. step #5) to ensure your faders stay at/around 0db, you are mixing at unity, and potentially missing out on additional gain for an input. It's ok, and advisable, to readjust gain during a show; this greatly helps with controlling feedback due to mics being moved from (stage vibrations, performers accidentally kicking them, vocalists moving around a lot, etc...); though, any gain adjustments should be very minimal. Good to see your reference to -18db and 0db!

[@jthunderbass1]

I have a literally never seen anybody ever do it that way.

[@stageleftaudio]

Unfortunately, this is a common practice.

[@ericgustin3386]

@@stageleftaudio its not common in the way your describing it. Mixing at unity is only done at the beginning. Set faders at unity, then have the band play and get the overall mix via the gain knobs. Dial i it in as perfect as you can. Then that's it. You never touch the gain knobs again. Now for any small adjustments , your using the faders. This way, your monitors don't get changed. No one who mixes at unity does it in the way you described. They don't keep fiddling with gain knowmbs al night. The main purpose of STARTING a mix in this fashion is to get all the faders as close to unity as possible. Then very small adjustments are much easier to make , and its much easier to see where something needs to go back to if a fader gets moved for whatever reason. I.e., a guitar solo or a drunk that falls into your board. (The latter being the biggest benefit. ) the last one happens more times than you'd think in bars and clubs. Lol.

[@chrish7336]

It happens more than you realize. Professional level maybe not, but those not doing it professionally, volunteers etc, do it this way religiously. I am no pro, but I have seen this far to often. I practically begged for my military commands to let me set up the systems for different things. It wasn't until none of their preferred people were available and i got the chance. Needless to say having some experience and not listening to people tell me how to do the job, pushed me to the top requested, they realized I actually knew what I was talking about.

[@chrish7336]

@@ericgustin3386 then they are not mixing at unity. They are using Unity Gain settings, then mixing for balance. It is different, and yes there are places and people that actually mix using gains not fades. This may not be common for those with knowledge/pros, but for the amatuer? this is very common.

[@richardbelisle4807]

Ughhh

[@ikweetvannixx]

Mixing at unity is dumb, even more dumb when you do monitors from FOH…

[@fishingwithleaches]

This video is fundamentally wrong, the board is designed to sound best at unity Of course youre not going to mix a whole show with your gains but that doesnt mean youre not supposed to get the faders to 0 (where they sound the best). Show up to any national show and do this crap and youll get laughed at

[@stageleftaudio]

This is from the A&H GL-2400 manual (the manual for the console used in this video): "Mixing with faders or gain controls? There is a technique used by some operators where they set all the faders to ‘0’ position and balance the mix using the channel gain controls. We do not advise this method as the signal to noise ratio and control resolution can be severely degraded. In addition, it is impossible to mix monitors from FOH in this way as changes to the gain settings affect the monitors too." I have a follow up video covering this topic. It provides more detail on the subject.

[@fishingwithleaches]

@stageleftaudio like is said, once the show is running you don't use the gains because that would effect the moniters. But when sound checking, you bring the faders to 0 THEN set your gains and lastly send signal to moniters. Also, the correct way to run moniters is through a separate console being fed off of a splitter

[@stageleftaudio]

That is correct, once the gain is set, it should not be moved. Remember, the gain control and faders are not the same thing. The gain controls the input voltage of that channel; where as the fader controls the volume of that input. Using a separate monitor console is not actually considered the "correct" way; but, it is considered a "better" way to mix monitors. Thanks for your comment.

[@alexandrkantor138]

The author repeat 15 times that it is wrong to set faders to unity, but he didn't say exactly what to do instead. When audio engineer talk about unity, they say that unity is good starting point.