Gain Structure SECRETS for Live Sound

[@alcraig1]

As a very old analog jockey, I have a few points to make. On many consoles, the solo button can be used to route the signal to the main meters whilst keeping the fader at infinity. And then set the pre-amp gain to an optimal setting. When I teach gain structure, I pull out a schematic of a consoles' signal path and focus on the pre-amp module and discuss the options available (pad, phantom, phase revers and the triangular representation of the gain amp). Mic level in, line level out. And then follow the signal through the rest of the channel, keeping EVERYTHING at unity. In practice, a mic level tone oscillator at the input, should produce a -20dbfs (or 1.23 volts or 0VU) at the final output. I always kept my sub-group faders at unity during sound check and at the start of the show. Then, if there was a drum solo, I could ever-so-slightly push that sub group up. I could easily control the backing vocals or the horn section. All the things you mention about the channel fader resolution also apply to the sub-group and main faders. You need to take your explanation gain structure all the way to the speakers and include cross-overs and amps. Turn your amps all the way down. Run some pre-recorded music through your console, making sure it is properly gain-structured and is hitting the final output meters at an acceptable level. Now, start slowing turning up your amps until you get the desired volume in the room. Too many people start by turning the amps to 10 and then wonder why your method makes things too loud. If you're running a 3 way speaker system, start by turning up the low amps until it feel right in the room. Then, turn up the mids until it compliments the low end. Then turn up the highs until you get the right amount of crispness desired. You have now done the gross EQ for the room and the system. Any fine tuning of the room EQ is then handled by the 1/3 octave EQ (post the main faders and pre the amps).

[@maxrainwater]

wow. great points! thanks for sharing!!

[@luisito19821982]

You nailed it!!! Ty for this info!!!

[@TJB1060]

I liked this video and found it very informational. My only thing is I wished you demonstrated what you were saying. It would really complete the learning experience of this video especially for the visual learners

[@WorshipSoundGuy]

For sure! This was meant as a quick, high-level explanation of a fairly deep concept. In our online courses (which you can check out at worshipsoundguy.com ) we go MUCH deeper into demonstrating all these concepts.

[@IsaacLizzie]

Yeah I would have really liked it if I've been able to watch it on a mixer the whole time

[@timmarciniak632]

Very good explanation about how this works. MOST people at churches behind the board have no idea about this and need to watch this!

[@liseeistrupschrder4888]

Thank’s for this understandable video. I appreciate it so much.

[@Gauseltown]

At last a video where the subject is well explained. Seems like you have watched the "Where did 0dB go?" Video by Robert Scovill, which I can highly recommend. Thank you.

[@DannyWilfred]

Very well articulated. God bless you. Love from India!

[@WorshipSoundGuy]

Thanks so much Danny!

[@sth1971]

You did an excellent job explaining. This is exactly what we needed for our team. Your thorough explanation is what makes you the best. The knucklehead who commented on you saying too much should just fast forward the video. Lol

[@erik-fromsoundplanning]

This is a great video and as someone that teaches this to churches, I am impressed. I wish you could add more graphics and hands on stuff instead of just a talking head, but hopefully, the folks that watched this got the methods. Well done!

[@LIXOSonidoyDiscos]

Thanks for your video. I want to watch more videos but I appreciate a bit of practice and tasks showing and listening band or artists making soundcheck to get the sound that we want

[@WorshipSoundGuy]

You can do it!

[@benseghers6905]

Thats oke for most sources but not for an individual channel like the HiHat. Like your clearity of speach👍

[@IsaacLizzie]

I've been doing live sound for 20 years and I really enjoyed watching your video looking forward to being able to use you to help train my team at church

[@WorshipSoundGuy]

Thanks so much Isaac! That really means a lot. Plenty more videos coming soon!

[@DanielWallner-u9n]

Great explanation of the proper operation of a mixer. Console operates best with faders at unity. This has been my contention all along, as one can immediately hear when the console is not getting (or getting too much of) what it needs.

[@PanRider939]

I always maintain proper gain levels start before the signal even leaves the stage. No point setting gain level on a singer holding the mic 2feet away and singing like a sparrow. Why would I set gain on a keyboard that the output level is only at 25%. Rule 1 get the best possible source, takes time and trust. Rule 2 then set gain. Gain staging starts on the stage. So I spend a third of my setup time on the stage with my tablet in hand, getting my team bedded in. I’ll get them to turn up their level, keyboard, guitar, bass, (they all do now) or get their nose on the microphone, and let them see me altering gain. The team see me working with them not against them and it fills them with confidence they relax. Secretly I’m teaching them how it all fits together. Then I have what I need, I leave them to set their own monitor mix and rehearse. I get on with my bit. They get compliments on the worship, they’re giving me a smile and a thumbs up as they leave. We don’t have a tech team. The sound engineer is listed on the worship team. Ok bottom of the list but somebody has to be. 😂

[@tobby917]

i fully agree. Im to the point that even if my church has new musicians i have a piece of gaff tape at 80% mark on all keyboards so they know hey always put there so my gain staging stays consistent regardless of player.

[@PanRider939]

@@tobby917 Same haha, our old church keyboard was on full and taped in place. Our current one is a bit expensive to do that. Our regular player who brings his own keys knows what to do, especially good at reducing his level during special moments then brings it up again, I don't even have to mix him.

[@christianmartinez1]

This sounds a lot like Robert Scoville's gain structure method that he's been teaching forever. I like the approach of this method, my only issue is when you start to apply group processing you are likely to be clipping on the input side of the group therefore clipping your processors in the chain. My approach is to use VCA's as "trims" into these groups in order to maintain my levels at optimum throughout the console level architecture. Line level on the input chain, line level at the groups, line level at the master, line level at the matrix. By following this I am confident that any processing I apply at any point in the console I know will be at an optimal operating level. Cheers.

[@WorshipSoundGuy]

For sure! I love Scoville's approach. I watched probably 8+ hours of videos on different methods of approaching gain before finally sort of combining them all into this haha. Clipping on group/bus processing is definitely something to watch out for. My take on that is to utilize the trim control on the group input (if necessary) if I feel like I need more headroom going into the group.

[@erikluper2677]

Might I suggest that the issue sounds like post fader processing on the input side that has not been gain matched input to output on the individual channels. Trimming from the VCA's is a quick way to fix it, but I would look at how hot the output of my in channel processing is too. Might give you some resolution back on your VCA's. Great idea though.

[@AlanHamiltonAudio]

While it's true that using the subgroups (or DCAs) this way to keep proper gain structure at the inputs, and channel faders riding 'around' unity, works... And for an installed system with volunteers that maybe shouldn't be messing with things at a system level is not a bad approach up front... But... Technically, if a properly gained channel cannot have it's channel fader getting anywhere near unity without being WAY too loud, and everything on the console seems normal (no excess makeup gain on compressors, no double-assignments, no DCAs accidentally dimed, master level at 'normal'...)... Then that is pretty much a case where a system tech needs to evaluate system gain after the console. Of course, always starting with looking at things within the console to make sure everything is as it's supposed to be. Especially since we're talking a house system where all the gear stays the same versus a provided rig (rax and stax) where an act might be bringing in their own console on a revolving menu of of amps and speakers for each show. So for an installed rig, if the staff isn't all that technically savvy, there's nothing really wrong with just adjusting at the main fader as a quick fix versus adding subgroups or DCAs into the equation that weren't already there. In fact, there are some good reason why that might even be a better approach. Let's say there's a stream mix on a matrix off the main L-R bus. Assuming it's tapped pre fader (as it likely should be for a stream from the mains) then turning the main down will not at all change the signal going to the stream. Adding subgroups between the channels and the main out will be choking things back before the main bus and so the stream matrix will get a weaker signal. But ultimately, if we're talking major amounts of pulling things back (whether channels, subgroups, DCAs, or mains) to get a tolerable level in an installed PA, than that's really a good time to get a tech onsite to evaluate the system gain. If it's just a case of one channel being really loud and everything else is OK at 'around' unity... then that is odd. The faders of course need to be where they need to be for a solid mix, but for one thing to be that far off unity when everything else is OK kind of points to some type of problem with the channel (double bus assignment, makeup gain cranked on a compressor... etc...). Or something really loud onstage. And in that case, it probably doesn't even need to be in the PA ;)

[@reubbn]

Hahaha this is the problem im facing now.. Thanks for the good explanation

[@stampedvxl]

What kind of soundboard are you working with? I suffered the same issue I have a pre-Sonus live 32 now I'm not knowing where to set my amps at I usually have them at about 12:00 to 2:00 sometimes when my pastor gets on his lapel it is way too loud or the acoustic guitar is extremely too loud and everything else is perfectly set is this what you're struggling with too?

[@toddclarke1580]

Channel strip eq is a gain adjustment. The further up the faded is pushed , the brighter and more mids we get , so never eq at a lower fader volume , and expect it to be the same when you push the fader up louder.

[@052RC]

A volume control is a passive device. It can't alter the signal, just attenuate it. If the signal is changing in some way, its not a volume control or something else is going on in the system. Channel faders are typically volume, not gain.

[@BryantCreative]

Dude, your voiceover sounds incredible. Kinda random but I had to say it

[@juanfelix4035]

Awesome!

[@BrotherIon]

Thank you for the video. In the future could you work in some visual application? Some of us are visual learners and it would help seat your words in our memory banks.

[@samkini]

Great! thank you

[@HellScythe2k12]

I agree on the Input gain part, Set at -15 or -18 dbFS (Can lean to -12 db on Digital instruments and sound sources since they are compressed by nature of their output amplifiers). But the fader part, really goes against the "avoid mixing at Unity philosophy". Faders are meant to be used along all their scale, even if their resolution is better near Unity. The artistic use of it needs it to go from -infinity to overhead. Human sound perception is diferent when there is a calm, melodic, contemplative interpretation of the song (Where transients are small and not many instruments on stage) than the perception of a full Rock energetic piece is being played. Where many sound sources have to be compressed and fight for leading place, and consecuently, any fraction of a db has an impact on the relative position of the stage. It is a deep topic worth conversation. May the years of experience and experimentation lead us to better serve the Lord. Edit: for typos and clearer interpretation, since english is not my first language.

[@WorshipSoundGuy]

Hey Lucio! That's a great take. I absolutely agree that faders are meant to be used all along their full scale. There are definitely times when I'm pulling stuff way down, or really pushing it, depending on the situation/song. My main point here is not that you need to keep all your faders at unity, but rather that somewhere around unity should be your "home base". I can't tell you how many times I've gone to mix at a church and they pull up a template where input gain is set pretty well, but all the drum faders are down at -30, the vocals are at +8, guitars are -15, and so on. It can become a mess really quickly! By having your "in the room" volume set by your subgroups, it lets you have a lot more consistency with the way you mix, rather than relying on big fader moves to compensate. Like if I'm trying to dial in a drum mix, I really might want to move things around by just a decibel or two, and that becomes a lot more difficult if the faders are down in the "lower resolution" area. Now, all that said, you have to do what you have to do to make it sound good! Sometimes you do end up radically moving faders around and that's fine, but as far as where I want my "average position" to be, I want them closer to unity to I can be precise when I need to be.

[@mattphillips-mm1vn]

I really don’t understand the sub group bit ..?

[@mattphillips-mm1vn]

I’m a vocalist with a laptop for backing vocals.. should I turn my volume on my laptop down to achieve near unity on my mixer for better quality sound..?

[@erikluper2677]

Very well done. I've been looking for someone online that I can send others to that ACTUALLY understands all of this. The one thing that I think would help push this along further is if you were to show folks how you would approach a drum group mix, or vocal group mix, or even better, the ever tricky guitar group mix that has acoustic and electric guitars in it. I think if people could see that there is a fader in EVERY group that is at Unity and everything else is balanced around it, the "digital difference" from analog would click a lot faster. Once again, GREAT job.

[@WorshipSoundGuy]

Thank you so much! That really means a lot. And that's actually something that we do in our online courses over at worshipsoundguy.com Great minds think alike haha!

[@erikluper2677]

@@WorshipSoundGuy I will definitely be pointing people in that direction. Since most folks don't have the opportunity to get their hands on a large analog console where they can see everything, definitely need a knowledgeable resource to help them get their minds around large input count, small format, digital desks.

[@MyFatherLoves]

The guitar group mix becomes far less tricky when it only has EGs in it.

[@erikluper2677]

@@MyFatherLoves True, but when you're limited on your busses, sometimes you gotta do what you gotta do.

[@MyFatherLoves]

@@erikluper2677 indeed. I know how that is. I’ve got a mono track channel lumped in the keys DCA. Drives me nuts.

[@stampedvxl]

Okay so my drummer has a D4 would he be in one subgroup in the bass player being one subgroup and the acoustic guitar player being one subgroup and then the praise and worship team being one subgroup pastors lapel being one subgroup and the piano being a one subgroup is that how I'm understanding it?

[@pakkinlaw4721]

Good explanation ！👍 But if you include 「Optimum Signal/Noise Ratio」adjustment in the `initial Gain Staging process' it would be more complete ！ 😊 👍

[@donzpressplay]

One thing I’ll add that I’ve even seen industry people who do this everyday miss, is don’t forget your pads. Some preamps are so sensitive that you can have the gain all the way down and drums mics will still peak them out. Don’t forget to take advantage of your pad in that scenario.

[@WorshipSoundGuy]

Yes!! I've definitely run into some situations where people were like "oh yeah my drums just always clip" and I'm always like "but... you can put a pad on it right?" and most of the time they've never considered it haha. Always a good one to remember!

[@rafaelunplugged]

What about SM57 To XLR to 1/4 into a line input of a mixer. Since the signal is so high would it hit line level haha. Might need to try this 😂

[@eflizotte]

@@rafaelunpluggedthe connector being used does not always correlate to the signal / electrical intensity. Just because you use an XLR to TRS, doesn’t mean it’s “line level” now. You need amplification (gain) to accomplish this like that of a mic preamp

[@stephenwilko]

@@WorshipSoundGuy I agree, unless it's a Yamaha desk QL? 🙂

[@Tabzunderground]

Aaa​@@WorshipSoundGuy

[@JNSVideos]

What about using the gain (make up gain) in compressor to get the level even before the fader.

[@freddyroy]

Is it ideal to mix with channel faders at unity or have the master bus or Mains fader at unity?

[@ultrastar23]

Aren’t Groups different from busses though? An aux/bus would be a separate mix you can do with individual fader control of each channel within that submix that can be pre/post fade, while a group would essentially be like a post fader bus with the sends all at unity, but no separate fader control

[@WorshipSoundGuy]

There's some overlap in terminology here for sure. I use (and most often hear) "bus" to mean "A signal path that can combine other audio signals together". So... an aux is a bus, a matrix is a bus, a group is a bus. It's kinda one of those "not all coffee is espresso, but all espresso is coffee" kind of situations haha :)

[@ultrastar23]

@@WorshipSoundGuy correct me if I’m wrong, but on Digico, Groups (not control groups which are like DCAs), which can be routed to at the bottom of a channel strip, don’t have separate fader control for the sends, right?

[@TheRockRoomPhilZuckerman]

How often should I get a hearing test as a soundman? Thanks!

[@rafaelunplugged]

Do you also aim for the signal of the master LR mix to be in the yellow / unity too so the master fader is at unity?

[@vivianschwartfeger]

I do

[@hectorchavezsalazar5920]

I have a huge issue at our small church 😢 if I set the gain input level to hit a solid -18 the volume is extremely loud in very small changes on the fader. It’s so frustrating. Because I can’t even move the fader to the -10 db mark. I’m below that if my gain is hitting -18 db. This happens especially on the multitrack that we use. We don’t have guitar players so we use multitrack but yeah that’s my problem. I don’t know if I explained myself properly but help me! Haha thanks for the great video! Ps I wrote it before he got to the end 😅

[@marcbrule3205]

Wondering if you would use DCAs in the same way?

[@dollamillz]

Quick question, if you used an effect on the mains, like a compressor, would there be any disadvantages to lowering the output that way so the volume is correct in the room?

[@johnsukhdeo8369]

I was hoping you would mention "Digital Trim". Curious to see you use it.

[@WorshipSoundGuy]

GREAT question! I do sometimes... I'll do some trims within SuperRack (if I'm using it) to compensate for gain that's added by other processing. The only limitation with using digital trim on channels/groups on the console is that it's usually pre-processing, so if you get your gain set right, but then use the digital trim to change it, you'll mess up your levels going into your channel EQ/compression/gates/Waves. On the other hand, if your console can do digital trim at the END of the signal chain (post processing) that can be very useful!

[@johnsukhdeo8369]

@@WorshipSoundGuy Thanks again for all the great content!

[@docgallardo]

Do you know if the digital trim on the Wing at the end of the signal chain??

[@MyFatherLoves]

If your console has gain and digital trim at the start of your input, you can still use the digital trim effectively without it messing up any of your processing and without using sub groups. When you soundcheck, set your gain first and then adjust the digital trim so that you can have your fader at unity. Handle all of your processing after that.

[@georgeanyanga5637]

Hi. I need something on feedback suppression or management. Any help please?

[@MrJcbbass]

I am a bass player running sound for the band on performances with no provided sound. This is helpful as I use a Soundcraft 24r w/Ipad to mix. I have a problem with boominess from the bass and bass drum. I am guilty of lowering the faders to balance the volume in the room. Just getting into the sub mix as a tool! Thank you! Question, how can I combat boominess on the bass to get a clear sound? I set the gain, then the fader is always low before to boom stats, so I lower the fader and use the HPF to roll off at 100 HZs to lower the boom!

[@PanRider939]

You don't really want too much HPF on the bass or the Kick if any, that's where they live. Try EQ'ing your room first. You'll need a reference mic, like the behringer EM3000, I bought my own for the purpose. You'll find a tutorial somewhere. You'll also need a source of pink noise if your console doesn't have it's own. See how it looks/sounds and EQ accordingly. That way you are not EQ'ing everything to solve a problem in your room and chasing your tail. Then everything that doesn't belong in the SUB, HPF up to the cross over frequency usually about 125Hz as everything has some amount of low in it. ESPECIALLY the vocal mics bring the HPF up to 150-200hz (men-ladies). What's contributing to your boominess is all of those open mics. Even on the drum kit there are pieces that don't have any low frequency like your snare and overheads for the cymbals, but they're picking stuff up stuff they've no business and sending it out, re-amplifying the low end, subtle but it all adds up. Cut 125hz out of your Acoustic guitar keep it bright, out of the sub and leave space for the bass and kick. Your low end will clean up immensely without blaming the bass and the kick drum 😀. Have fun.

[@camstewart2833]

Thanks for this! Super helpful! We're running the Behringer WING. I have my DCAs set for each instrument group along with their FX and parallel compression buses. So the Drums DCA also has my drum verb and parallel compression bus in it. Would that DCA then be acting the same as a subgroup or do I need to free up some buses on the board and replace my DCAs with subgroups?

[@samgonza1975]

DCA are not the same as a sub group as mentioned in the video. The dca is basically like a controller for all the channels assigned to it. You are essentially moving all the faders of those channels at the same time with the dca. So. If you are feeding anything “post fader” especially like Fx, the more you adjust the dca, the more you adjust the level going to Fx and such.

[@WorshipSoundGuy]

This is the way! @@samgonza1975

[@MyFatherLoves]

If you have a digital trim on each input, mixing with DCAs works just fine. Although a very helpful and powerful way to mix, you don't need to mix with sub-groups if you have to comprimise.

[@casey17w]

Hi. Great work on the vid. It's some useful info. I got a question. I am in a 4 pc band ( no drums) do we need to set gain everything time we setup amd do soundtrack? Or can we just use our settings from rehearsal and adjust when we setup at a gig. Thanks a ton.

[@daveslivesound3143]

Gain should be the same if...no gear changes were made. Just be sure to plug in to same channels and leave gear/instrument levels at same setting. Biggest issue you can run into is folks turning themselves up or down on their own amp or pedal...which cascades into every place that signal goes.

[@briannyamweya7224]

My goodness this just sounds like exactly what i needed to learn. Though my problem is that am using an analog mixer to set the foh mix for our church. How do i maximise the subgrouping strategy being that the board i use has only one subgroup option and one aux option. I feel stuck there, also being that am using the same board for sending sound to our live stream through the aux out. What can i do

[@sgommerable]

What about DCA/VCAs?

[@WorshipSoundGuy]

Great question! So, the issue with using DCA/VCA's to adjust the volume in the room is that they're basically just functioning as a "remote control" for the input faders. This means you're going to affect levels to post-fader sends from the input channels as well change the amount of any bus processing you might be going into further down the signal path. Like for example, if you've got your drums going to a group (or a band bus or whatever) and maybe you've got some saturation or parallel compression on that group/bus, but then you reduce the level of the signal going into that group/bus by pulling down your drums DCA, you're going to change the amount of saturation/compression that's happening on your bus. If you adjust the level using a subgroup, the change is happening "post processing" so you'll still get exactly the same amount of compression/saturation/whatever and you can turn the group up or down to adjust the level in the room without having any effect on bus/group processing or changing what gets sent out to post-fader sends. Really good question! -Johnny

[@sgommerable]

@@WorshipSoundGuy Right, hadn't thought bus/group compression

[@mSarimaa]

@@sgommerablebut you can set the DCA or VCA to control the level of the subgroup, if you want to use them because of ergonomic or layer control reasons etc.

[@boydbaptistchurch]

Does a sub-mixer work the same as a sub-group? For example, I'm using a smaller mixer for the drums (due to lack of channels) and sending stereo to the main mixer. Would my output from the submixer be the same as the gain level from a subgroup?

[@052RC]

Output is a volume control, not gain. Gain is more important to get right. It can harm the signal, where a volume control can't alter it at all. I would treat the drum mixer as a line level source on one of the main mixers channels. Also, I don't see why you would need stereo. It doesn't really apply. The 2 channels on the drum mixer should be identical, so you would only need to use 1.

[@SFfilms254]

What if my mixer doesn't have subgroups buttons

[@cweednz]

Turning down the amplifiers is an option. After all, the “volume” controls on an amp are attenuators.

[@JuzzyQld]

But using subgroups will create the same scenario as lowering the LR bus? Just use DCAs and digitally trim the master down...

[@Gauseltown]

No, using subgroups will help you get a good gain structure and have a good mix on the PA. Turning down a DCA turns down the faders assigned to it and so the post-fader levels (fx send e.g.) will go down too.

[@hankhope178]

Thanks, but this was mostly over my head. I need a 101.

[@Gauseltown]

I would recommend watching the "Where did 0dB go? " video by Robert Scovill. Once you unterstand it, it's so easy and logical.

[@vasspanowitz7304]

Is a VCA the same as the sub group?

[@ItalRolando]

I'm amazed, 15' of video to answer why if you done the gain structure correctly on the console the sound in the room is unmanageable: your power amplifier is too high!!

[@surfcello]

Thanks for the tip. But couldn’t you have said this in 2 minutes?

[@BikerEgg1]

Equally important to the specific piece of information is the "why" of it all. If you can understand the "why" you will be more likely to retain the information AND you will be better equipped to troubleshoot problems when they occur.

[@dukesmithholley]

This is fantastic information - I was puzzling between a DCA and a Subgroup to make this work correctly- I am having to run my Subgroup master faders quite low on the console (around -20 db) - Is this normal? Or is it perhaps that there is to much power in the PA itself, and this needs to be adjusted down?

[@alcraig1]

Turn your amps all the way down. Run some pre-recorded music through your console, making sure it is properly gain-structured and is hitting the final output meters at an acceptable level. Now, start slowing turning up your amps until you get the desired volume in the room.

[@adriannevarez103]

What about if you have a lower end console where subgroups are at a minimum or not at all? How does gain staging apply to that when it comes to reducing input sound? I started on an Allen and heathe analog console where subgroups was difficult to use so I used my ears a lot of the time to gain stage while fader was set at unity and then mixed rather than looking at metering in that process.

[@WorshipSoundGuy]

For sure! In that case, I like to do my final gain staging at the PA amps. I'll get my console set up where my input gain is all set correctly, and my master output is hitting where I want it, then I'll go to the amps and turn them up to the point where I'm getting a good volume for the room.

[@MyFatherLoves]

If your digital console has a digital trim on a per-input basis, it's best to use that rather than turning amps down.

[@michaelanderson4265]

That’s the technique I’m doing; not enough busses left to subgroup

[@MyFatherLoves]

Great video man! One really important question though. What about digital trim on the input channels? I work on a Midas Pro-Series console. We can change the signal flow several different ways like most consoles can but we also have a digital trim at the same stage as gain. Is this something only Midas has? I'm confused as to why you didn't mention it. A simplified version of our workflow is gaining up to line level, adjusting the digital trim to the point we can get the fader up to unity, dynamics, eq, and then the signal splits pre-fader to the auxes. Our inputs then go through DCAs and then finally the master bus. Is this the wrong way to mix as described at the beginning of the video or is this just another way to mix?

[@Gauseltown]

As he said, the consoles are optimized to work at line-level. So trimming the signal down has the same effect as turning down the gain.

[@052RC]

A trim control is the digital equivalent of gain. You are supposed to set your analog gain first, then use trim for minor corrections. It works a bit differently, though. Analog gain and volume controls on one of the channels in your mixer, controls the line level power amp for that channel. There's no such thing as digital amplifier, so when you use trim, you're altering your bit rate. The lower you go, the more you loose. As you go higher, you raise the noise floor. As long as the adjustments are small, you'll never hear an audible difference, but its good practice to use trim in small amounts. The same applies to digital volume controls, except they can only go down, not up.

[@MyFatherLoves]

@@052RC right.

[@rafaelunplugged]

WSG I have a livewire snake with combo jacks Can I put a line level 1/4 into the combo jack then use an XLR TO 1/4 adaptor to put it into a Boards stereo line level channels?

[@052RC]

No. You first have to figure out exactly what you're connecting. The connector itself isn't what's important. Its the electrical properties of the 2 pieces you are connecting. 1/4 inch can either be TS, TRS, TRRS, etc. A TS 1/4 inch connector has 1 ring and it breaks the connector up onto 2 separate areas (tip and sleeve), and can support up to a 2 conductor cable, like un-balanced rca audio cables, or an instrument cable, like a guitar. TRS is a 3 conductor connector that can be used for something like a single channel of balanced audio or 2 channels of unbalanced audio for headphones. XLR is the equivalent of a TRS connector. It supports 3 conductors. Most of the time XLR is used for balanced signal transfer which requires 3 conductors. So, if your XLR component is a balanced connection, and your TRS connection is also balanced, you can connect the 2 using a xlr to trs adaptor or cable so long as the pin configurations match, and the application is the same. It has to be, line level to line level, mic to mic, etc.. Problems arise when you try to mix connections that are not the same. For example, your 1/4 inch jack may be an unbalanced audio connection, and your XLR may be a balanced audio connection. This is very common, and there's a good chance this is what you have, but I can't say without more info, so I'm assuming it is. The problem is a balanced connection has 3 conductors, 2 hot and 1 ground (++-). Unbalanced is 2 concoctors, + and -. You have to do something with the 3rd conductor from you balanced component. The audio industry had made this topic extremely confusing. There are different ways you can balance a component, and with each way, there are wiring options. So, you can have 3 balanced connections on 3 different components, all using XLR for the connection, and they can all be different. Sometimes you can use an adaptor, like you suggest, and you can get lucky. Or, your adaptor or unbalanced component may deal with the 3rd pin from the balanced connection by shunting the number 2 pin to ground. Its a very common solution. The only problem is when you combine the 2 pins, one is a signal and the other is a ground. The second you run power through that connection, you instantly create a short circuit. You'll definitely hear it, and in some cases you can harm your gear. Keep in mind, I'm just scratching the surface on all of this. What makes the situation so messed up is some companies market their products in a misleading way. For example, you can use just 2 of the 3 pins on an xlr cable if you're connecting 2 single ended components. The extra pin isn't connected. However, instead of telling people this, they say something like "This component can support balanced cables.". And that's technically true, but what they're really trying to do is fool you into thinking you have a balanced connection, when you don't. As long as this post is becoming, I'm actually leaving out over 95% of what you really need to know. Here's a link to some information on this issue. Its put out by Rane. They make pro audio gear, and you've probably heard of them. They have been trying to get these standards fixed for years. Balanced operation is not that complicated, its just that the industry has made it such. They go over all of the different options better than I ever could. www.ranecommercial.com/legacy/note110.html

[@rafaelunplugged]

@@052RC I wish livewire (guitar centers brand for cables) cared as much as you did. Lol

[@kirins4189]

hello i just get x32 and im wondering about your “X-32 PRESETS PACKAGE”. Where Can I check the preset list? Is there any shure mic preset?

[@WorshipSoundGuy]

Hey great question! There are literally hundreds of presets so we don't have them all listed out on the products page ( shop.worshipsoundguy.com/products/x-32-presets-package ) but it covers basically every instrument that's typically in a contemporary worship mix. We didn't do presets for specific brands of mics because we didn't feel it was necessary, but I personally use a ton of Shure mics and they work great with these presets!

[@vinz_sap]

What if I turn down the trim knob? Is the same thing of turn down the group?

[@rishiranjithlall6554]

Good video ... though it's always best to show it on the mixer of what you talking about. Explain and show works best as a teacher learner in music. Cut out the too much talk .

[@tsarodavid9730]

Vola

[@steventaylor6057]

It took you 12 minutes into a 15 minute video to get to the point.

[@DavidLopez-xi1jl]

bro yaps for a living

[@Clinteastvveed]

without any demonstration this really misses the opportunity to explain this subject in the proper manner

[@theoneandonlyzako]

Well none of that matters when you're stuck mixing before the fader. Just use the damn tool that's given to you and stop worrying about where the fader lives!...

[@1yamawai1]

Most important button? Easy, it’s the MUTE button. 😜

[@WorshipSoundGuy]

Haha in some instances absolutely YES!

[@efaxing6649]

Can't you be straight forward then just blah blah...?