my Live Mixing Mindset

My Instagram: / danielkharrat
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Mixing Station Tutorials: • Mixing Station Tutorials
M32/X32 Tutorials: • X/M32 Tutorials
MR18 Tutorials: • X/MR18 Tutorials
Epic Orchestral Covers: • Epic Orchestral Covers
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#m32 #x32 #livemixing

[@Alex_Martz]

Great advice! another benefit of proper gain staging (-18db "loud mix") is that we use the maximum resolution of the ADA converters, floating point processors allow us infinite internal headroom so all our internal processing, FXs and inserts will benefit from a proper signal with less signal to noise ratio, also not touching the main LR fader allow us to insert processors like compressors or limiters in that bus that will benefit all the other matrices and make the sound have more impact at lower SPL

[@RiccardoBottone]

you're a life saver, man

[@alhogg1]

Daniel, another great video tutorial. You are certainly my favourite for the M32. Thanks!

[@stevemcclanahan3845]

Thank You for all the info Daniel. Much Appreciated!

[@martinlj5312]

Thanks. I like your teaching process of no bullshit and I can tell this is how you would like to have been taught when you started. I have a similar mind so it is very easy for me to understand you. I have been doing live sound for two years. Greetings from Sweden

[@BrianSimmons]

While I completely agree and support the idea of getting the gain staging correct in the mixer and running an output around -18db, I have to disagree with the notion that it will help reduce feedback. SPL is SPL. It doesn't matter if your console runs hot and your speakers aren't aplifying to sound as much. If it's 90db in the room with a "hot mix", that affords the same opportunity for feedback as a "quiet" mix in the console that is then amplified in the speakers to the same 90db in the room. Also, if you are turning your matrixes down, the ultimately the output of the console is likely the same. For example, if you run a "hot mix" in the console, but end up turning down the matrixes by 20db, the output is literally the same as a "quiet mix" in the console that is 20db quieter than the first example when you run the matrixes at unity. While the first method is better for broadcast sends, it will not change the characteristics of feedback one bit. Also, not changing the main fader, but instead using a iDCA fader is likely doing the same thing. Like you said, the iDCA fader is literally a remote control of the real fader. So unless you have compression or other processing on the matrixes, changing the main fader is the same as changing the matrix faders. It's certainly far easier to use the main fader for this function. It's the exact reason why consoles have a main fader in the first place.

[@danielkharrat]

sure SPL is SPL but if you run your outputs at 0db (full potential of the speaker) and someone drops a mic or unplugs an instrument or even feedback happens it will be catastrophic but if you limit the outputs to a certain level even if all of these happen no real damage will happen to anyone's hearing by quiet mix i don't mean the output level i mean a very dynamic uncompressed mix. that will sound much quieter and you'll turn up the speakers more as opposed to compressing everything well and having a higher average level. this will allow you to bring down your outputs while maintaining the same perceived loudness as for the main fader thing. sure, if you only care about what's in the venue and you're not streaming or recording or anything else do whatever you want. but the main fader is to control the level of the mix not the level of the speakers i like to keep these 2 things separate

[@buelow123]

I don't understand what you mean by the difference of a loud mix into quiet speakers. Can you maybe explain it differently? I understand that gain from the preamp may sound slightly different than just using a trim to turn it up afterwards, but if you make your loud mix quiet by turning down the matrices, that is the same as sending a quiet mix in my understanding. Also gain before feedback does not change it the gain of the preamp is set differently (I think it should be called differently, more like loudness before feedback) becaus the microphone does not know where the loadness in the room comes from. What difference would it make to tun the mic gain up vs. turning the speaker up? On my opinion, non. If I'm wrong, please correct. Would also like other opinions.

[@danielkharrat]

@buelow123 if your mix is very quiet you will need to turn up the speakers mkre and that will cause more potential for feedback. By having a loud mix you can turn down while still being able to hear everything very well. Try this, record your voice without any compression and put it on your phone. You will likely need to turn the volume all the way up to hear everything well. But if you compress it and make it louder then listen to it on the same phone speaker you might only need to turn the volume to 25% and it's loud enough. Also by turning down the speakers i am making sure that things cannot get any louder than a certain level. Even if feedback happens it will not be catastrophic nobody's hearing wil get damaged and no speakers will be blown. So yes technically you'll get the same SPL if you do it either way but one way is safe in case of an accident and the other way is dangerous

[@buelow123]

@danielkharrat I think we are speaking of different things when we say loudness. Of course compression increases the perceived loudness, without actually making it louder but having a loud mix and having a compressed mix, that sounds loud are two different things. Also a compressed mix is more prone to feedback than an uncompressed because you raise the quiet parts. So I really don't get your point here. Also turning up all the matrices at the same time should do the same thing like raising the mian fader unless you are compressing the matrices. Then this would make sense. But I like your take on the subwoofer sends. I will try that and hear if it makes things punchier. I also could see it have positive effects on feedback because there is no energy from singing mics. Sorry if it sounds like I am complaining. I actually just like to discuss these topics, because it very interesting for me;)

[@martinmarasco4403]

Meterse en sonoridad, volumen y demas puede llevar a confusiones. Trabajar con una mezcla fuerte te va a permitir a vos controlar el nivel de los amplificadores segun el SPL buscado (quizas necesites llevarlos al maximo). En cambio, con una mezcla debil quizas aun llevando al maximo los amplificadores no lo logres el spl deseado, por lo tanto te deja menos margen de maniobra. Me paso en un evento corporativo de hacer una mezcla silenciosa y altavoces autoamplificados a un 70%. En el salon se escucho muy bien y el margen de retroalimentacion fue bueno, pero la mezcla en el streaming sonaba con un piso de ruido alto, pues los preamplicadores estaban demasiado bajos, por lo tanto siempre es mejor trabajar a la mixer en niveles nominales y luego trabajar niveles indiduales segun destino con matrices o procesadores.

[@johnmcvicker6728]

@@danielkharrat Your "loud mix" just means your output level is in the yellow near red at peaks (no clipping). I think the term loud mix means "using most of the meter" or something.

[@stevemcclanahan3845]

Thank You for all the info Daniel. Much Appreciated!