Good note

Thanks. Yes, the band was great to work with.

😂😂😂😂🎉

Haaaaaaaaaaa indeed

Remember he is giving us sound picked from the FOH not from the console aux send.

Thanks!

You can avoid 20 minutes of tom EQ if the drums are tuned well and the mic's in the right spot. You know you're in for it when the drummer yanks the drums out of his hatchback and sets them up without doing anything to them, especially if you're outdoors because it's only going to get worse with temperature. Those are the times when you say "screw it" and gate out as much crap as you can, then flying V the EQ until it sounds ok.

@@jttech44 You really know you are in for it when the drummer starts hitting his drums as hard as he/she can while you are putting mics on the drums. Specially when you are leaning with your ear close the the hats and snare LOL

@@ericpr0278 they love that, they love that like a fat kid loves cake

without the sound person, they don't get heard

It's kind of the opposite for me, the more I've switched over to digital the more I find digital consoles overall more simple to use over analog. Especially large analog desks of old that were 6' wide and 4' deep. And then a rack or two (or more) of processing that all needed patched individually and weren't just available on every channel and bus waiting for me to engage it. A lot of constant moving, up-down-this way-that way-to set up cues and make changes. Especially during soundcheck dialing in compression and gates, and no such thing as presets then. A lot of it is just finding new workflows, and understanding signal flow. At a certain point, it's still the same... only different ;)

Yip... Throw and go! As someone once said "If the sound person is any good, then a soundcheck won't matter. If the sound person is not any good, well, the soundcheck still won't matter!"

Yes. I do one of the smaller stages at the Isle of Wight Festival. Fifteen bands per day with fifteen minute changeovers. The trick is making sure you get your gains set up right in line check, then you put the faders where you think they should be and off you go.

My pleasure!

Cool, thanks

Glad you enjoyed it!

I appreciate that!

Cool! Glad you like it! Thanks for the nice comment!

Thanks!

My pleasure!

Well you’re right but he started with a line check and tonal progression from the drums upward… This is fine as long as the entire channels will be unmuted when the band plays

It's amazing how fast things are changing with the digital revolution in the production world.

LOL

I recollect for a period of time some 30yrs ago bouncing around clubs ... I had my mains labeled "Angst".

Yip. Great to work with.

LOL!

Yep, big ass console ... plus several outboard racks of multiple Drawmer gates, several dbx comps, Klark EQs, Yamaha effects, maybe one or two high-end comp/processors for lead vocals ... I humped all that myself, plus a tri-amped point source PA (sweet Apogee traps, JBL subs) ... I loved every minute of it. I was extraordinarily fit. Thirty years ago! Last set shutting down @2a, out the door loaded up by 4a, home by 6a ... those were the days. Started out like that in clubs, then ascended into 2k proscenium theaters, then 18k amphitheaters, then all the way to 70k stadiums! Essentially retired now ... All these digital toys are wonderful.

The room tames down really well when people get in there.

Thanks! Being prepared on our end, and having a band prepared on their end, really helps!

True - I don’t know how many chaotic garage band style sound checks I’ve had the misfortune of witnessing; lead guitarist won’t stop turning up his amp/shredding/trying to melt everybody’s faces, drummer decides to tune their toms while you’re trying to set levels for the vocalists…no thanks. We might as well pack up and go home, since we’ll all be deaf by the time we end our set anyways…

@@B3ARCAT You forgot "...the drummer hitting his snare and other things as I'm placing the mics"

Cool! They will rock the place.

I do sometimes, but when I'm in the screen for comps and gates I keep coming back for EQ too. Spent too much time on Avid Venue stuff...

Also the small under-screen rotaries are the weak points on the M32, and, Midas/Musicgroup is a PAIN to get spare parts or repair service from.

Thanks!

@@AlanHamiltonAudio I have the M32C with Midas 32 X16 Stage box. We play a lot of smaller venues and run our sound from the stage. I love being able to mic every single thing and record the whole show to individual tracks for mixing later. Not having to lug a giant board around is sweet. But I would still love to own the one you have. Do you think it would have too high a noise floor to use for home studio desk/interface? I run Apollos for that. But no automated faders per say

@@allenlocke1935 I think it would be fine.

Thanks!

I really do it a host of ways, depending on the band and time. The more experienced the band, the easier it is to get consistent show-level signals in whatever way they want to give them to me. And when they do play thru their kit, it can go pretty quickly to fine tune anything and the monitors get fine tuned then too. But I've been known to just tell them to play a song (vocals or not) and set things that way too. That'll get a pretty quick roughed in mix and then from there, monitors can be set (or fine-tuned... they could've already been giving the mon engineer signals) beyond just individual vocals in individual mixes as a starting point. I don't really want a vocalist singing without their vocal in their wedge... unless that's what THEY want. Of course if they have their own split and ear rig, some of this is a moot point anyway.

We were kind of doing a little of both so they had a point of reference to what the stage sounded like with the house on, plus by itself. The only time we deviated from that too much was when the one monitor had a ring in it and I muted to make sure it wasn't me... which it wasn't... and then to let Jason work on it with the house muted. Then I never got around to bringing the house back up with his monitor for a quick listen because the ring was gone and they were good and ready to move on to the next channel.

@@AlanHamiltonAudio 👍Makes sense. And, yes: Feedbacks never come from front of house ;) 🙋‍♂

Thanks!

Thanks!

Thanks! If you didn't already see it, I posted a similarly themed video from a different show a couple of weeks ago. It's here: kzfaq.info/get/bejne/n6mqgbJl0andcac.html

Those are Yorkville LS1208's.

LOL... Fortunately, they did a few full songs for soundcheck so we got a solid vocal check for stage and FOH.

I once met a Slovakian sound engineer. And a Czech one too. A Czech one too.

Many, many such cases. Not to mention, they never sing as loudly during soundcheck as they do during the performance, and *how much* louder is wildly variable.

I have some older videos about EQing Kick, snare, and toms. I also have those videos in a Drum Mixing Playlist on the channel. I probably need to revisit the topic in the future and tie some things into newer videos. Here is the playlist: kzfaq.info/sun/PLWtgwSNlxTjMsX8H1K87UcAP17zYSZqsT

Yeah, I always put FX in a mute group no matter what, but anytime I have VCA's or DCA's I like that vocal FX DCA for a nice one fader balance blend, or a quick kill for talking between songs. The mute group works for a quick kill too... but the DCA also lets you fade the FX back in if you happen to forget to turn them on after the singer gets done talking... It's a little more 'sly' than that Unmute button in that case ;)

I generally swap back and forth between FOH on and off while mons are being tested to give the band the feel of both. FOH off they get a really good idea of what their mons are doing with all of the subtleties therein. With FOH on they get a feel for what their mons are doing when things are closer to show mode and what they'll hear then. I find that helps keep monitor levels down overall (because they have some reference to the volume with the PA) but also helps them get their mon mix right before a full band soundcheck. Unless someone prefers it done differently. So in this case, they were setting mons as I was setting house on the line checks. They weren't necessarily waiting on me to mute and THEN starting monitor checks. Things went a bit different on that SL vocal because there was a ring... and I quickly muted the house to make sure it wasn't me and to let them work with that onstage in isolation. They got it... and were ready to move on... So I never really got a chance to give them another listen with the house on until the full band/song soundcheck. Yes.. analog snake is deployed here. The venue does not have a cable trough. There are yellowjackets at the aisles, but not under the seats. They're just dressed there. I didn't want to trust the Midas/Behringer AES50 Cat5e STP cable at that length to any 'surprises'. We would've been using the analog splitter anyway to avoid gain sharing in this case just to speed things along... I could've used an AES50 connection from FOH to a DL32 at the stage, and just used an analog split between the mon desk and the DL32. But it wasn't that big of a deal just to run the analog snake and skip the DL32. There was plenty crew to make it pretty much a non-factor time-wise. I'm OK with gain sharing if the mon guy is onboard with it. But it's also a complication that doesn't have to exist if we just use the analog splitter. So it's a consideration with time, mon engineer, and which way it makes the most sense for a particular gig.

Disagree. FOH is my domain, if a musician is playing off the FOH sound, their monitors are wrong and need work. Muting FOH and forcing them to get what they need from their monitor is 100% the right way to do it. When FOH is at level, they might need changes, but those changes are going to be very subtle.

@@AlanHamiltonAudio Digital snakes will offer some noticeable amount of clarity over an analogue snake, but I'm right there with you. The single AES50 port on the M32 really limits things, because you have no fallback. You can get ruggedized ethercon, that is pretty tough, like tough enough to live in a cable hide and not die randomly. Spring for the stuff that uses direct burial cat6a with braided steel reinforcement. As long as you don't try and kill that stuff (parking a car on it) you won't be able to.

The band was great to work with and understood how to work efficiently from their side of the mics.

As with a lot of this stuff, the answer is "It depends". If the system is balanced well enough, I don't tend to do a whole lot to the vocal EQ. I'm always going to apply a HPF. Sometimes a low mid cut if the vocal is muddy... and the HPF doesn't fix it before it becomes destructive to the overall sound. Sometimes a hi-mid and/or high boost to get the vocal to shimmer a bit and cut thru a guitar heavy mix. Or to counter muddiness. Unless that thins the voice too much. Maybe a high cut or de-esser if the vocalist is a bit too sibilant or piercing. I'm likely to fine tune all of that within the actual mix when I hear the band, but at this point I have a good idea of what I'm going to need to do even before I hear a full song... Just based on what I hear individually, and the genre, and kind of know how it will all fit together when the band plays. But still, you have to listen once the band starts and make sure that whatever you did, or do, is actually working. I like to say you always want to be able to explain why you made a change or tried something... otherwise... it's just randomness and that is basically turning knobs blindly. In fact, if someone was to watch a video after the show of an audio tech working, along with the music, they should be able to explain the reasoning behind any move they made. Of course their reasoning might be flawed, but it's still better than random knob turning and searching without a purpose. IMO...

I've got E609's as well... I think it's probably a good 90% of the time or more that an act just requests an SM57 though. Both sound perfectly fine for the application. E609s are good when you don't have a stand or don't want a stand to keep things clean onstage... since they can be draped over the amp and still be kept perfectly on-axis for the speaker. I got the E609's several years ago... They were on Glen Campbell's rider for his guitar amps and so I added them to the inventory for that show. Then they got there and asked for and used SM57's... And so it goes! ;)

FWIW here's a similar video in concept from this fall at another venue: kzfaq.info/get/bejne/n6mqgbJl0andcac.html

It's a pretty standard rider request these days.

For me it could be one of the best mic ........ Now as usual it depends wich kick, how is it tuned, the kind of music.........or we are a lot to be insane to use it !

Knocking on wood... No issues with X32 faders or M32 faders. I have 2 X32's so I try not to use the M32 in situations where it might be dusty (smokey really isn't an issue anymore like it used to be around here). I bought the first X32 so as not to have to use the SC48 when an X32 would do. Then added another down the road. And ultimately added the M32 as well. So no one console gets relied upon for 100% of the gigs. I also try to keep them covered between bands/sets and all of that.

Yes I have seen a couple of issues with ghost faders they move without you doing anything in this case is always good to do maintain on your console so these issues dont arise mainly if you use the console consistantly

​@@AlanHamiltonAudio I see, clever idea. Well, the two X32s I'm using aren't new and have been used a lot in the past by other engineers; I assume they didn't take enough care of them, back then.

​@@brayanbermudez2799 Yup, exactly what I'm talking about..

@@AnthonyGreenMountain this is why the midas m32 is a better console because it has individual motors for faders compared to the x32 that has blocks of motorized faders yall should check out Dave Rats video on M32 vs X32 is so good

A lot of times I'll use a PEQ instead of the high shelf. That would be the more surgical approach. The high shelf allows a margin of error in getting a lot of attack which is sometimes the goal with rock toms. And to do it quickly. But the upper ends of that shelf are pointless. OTOH, it's not really going to get a lot of cymbals because the gates are not going to be open for them. The toms are gated with frequency sensitive gating and it's only the thud of the tom that will open the gate. So the cymbals won't open the gate,

@@AlanHamiltonAudio Yeah, i should really start setting my tom gates to be frequency sensitive, i always forget to do in a rush. Thank you for your response.

Yes, the band wasn't carrying any monitors and wanted a drum monitor. I don't actually remember if they specifically requested a drum sub in their rider or we just provided as part of a standard 'large show' tri-amped drum monitor. But he got a 2x18" subs and a 15"x2" top. Sometimes, a drummer will carry or want IEMs and STILL want at least a sub, but it's getting more and more likely they'll be carrying a throne shaker in that scenario.

I have Smaart V9 and I measured with that during the afternoon. I then leave it up during the show to compare the console vs the room. But I don't make any real changes via it at that point (during the show) unless I hear something and I look at it and it helps to confirm it. I'd rather not guess and overcompensate for people dampening the room response. It's not always a bad thing to lose some highs on a rock gig... until it gets to the point of being too dull. But that's probably not going to be an issue with a full on rock show. I think I did add a little 3dB shelf at 11K.

@Alan Hamilton Audio Good to know I'll look into it!

Is there no one replying to this comment? We are changing our drum mics N considering sure n seinheissers

​@@ericnzuki90 go for sennheiser, the e600 series.

Yip, that was them. I saw the other day they have a lot of the show posted on YT .

Thanks!

It's usually the band's fault in one way or the other. Not always. Sometimes there will be a dB limit imposed on the opener or some other restrictions that might negatively impact them... and it also could be their soundcheck time is limited. But for a touring band playing with the same headliner, and digital consoles these days, that's not much of an excuse either. Their baseline settings should be saved from the previous show and even if there was NO soundcheck, their FOH engineer should be starting in a good place to quickly pull a mix together on the first song. And the monitor mixes should also be saved and quickly recalled, and especially for ears, shouldn't 'need' much changing (if any). This is all especially true for an act on the same PA each night. In clubs, it might be tougher due to time factor, small stages, and constantly different PA's each night. The experience and ability of the band's engineer will definitely come into play. And they might not even HAVE their own engineer and using whoever the house tech is. Plus, while they MIGHT be carrying their monitor rig/ear rig if they are a touring act (most bands do these days if they are touring), which gives them quickly recallable monitor settings, but for FOH in clubs/smaller venues they might be sharing desks with the headliner or at least using whatever the venue/promoter provides. That means they may or may not have a starting scene saved for a baseline. And even if they do have a scene, the room and rig being totally different will mean the baseline is not nearly as close as it could be. But MOST house techs will be competent and NOT the reason a band's mix falls apart. Especially at competent venues that understand this and do maintain some minimum standards. So that's where the band comes into this equation. The headliner is USUALLY the more polished act. They usually have their own FOH tech and that person is usually in that role because the band is comfortable with them and likes their work. They probably have as much if not more experience as the band. The band is used to playing gigs, reading the room, understanding limitations and playing through them, etc.. They could also have better dialed in backline instruments/amps and have taken steps to minimize stage volume in how it relates to FOH volume and mix. IOW, making sure they have a tight sound onstage that works for their FOH mix and engineer. An opening band might have less experience, less time onstage, and come into the gig trying to play too loud... playing with little to no dynamics (everything on 10). And doing that without being as tight musically. So it can get 'thrashy'. They can be their own worst enemy in a lot of ways. For small local festivals/multi-act local stages you'll find some local bands get excited about playing their 'big gig' and want to throw the kitchen sink at the gig. So they add an extra member that's not usually with the band (like a keyboard player or sax player). The singer suddenly wants to play acoustic guitar when they usually just sing. Someone's girlfriend is going to sing backups and play tambourine. The drummer decides to bring a 12 pc kit when they usually have a 4 pc kit. The guitar players turn up to 11 even though they never practiced at that level. And the bass player's rig can't keep up because he's using the same amp as rehearsal. Maybe this lineup actually practiced... maybe they didn't... But in either case, it's not at all the lineup they usually have and the one most experienced at playing together. And the WAY they play together. So they don't get comfortable, and they don't play tight. As a rule, a PA (and band engineer) can't 'create' sound as much as 'recreate it'. GIGO = garbage in / garbage out. Sure, you can polish some things, enhance some things, etc... But there has to be something to work with in the first place. Some things can't really be polished... ;) Even if the opening act is carrying their own engineer, by virtue of their own inexperience, their sound person might be less experienced too. So even if they have the same tools available to them as the headliner, there is no guarantee they'll get as much out of it due to their own technical limitations. Far and away, what I generally see is the opening band is their own worst enemy in not sounding as good as the headliner, or sounding 'bad'. The headliner might have the full lighting rig and full polished show, which that polish and the visuals can enhance the perceived audio... so there's that... but still, if the band isn't playing tight and comfortable, and the audience isn't vibing, then their sound and playing will suffer. But it's because their 'performance' suffered in that case and FOH can only present what is flowing through the mics into the console.

Someone once said "If the soundperson is any good, a soundcheck won't matter. And f the soundperson is not any good... well, the soundcheck still won't matter"

I let the monitor console handle phantom power... but in truth, it wouldn't matter. We both could turn it on and everything be fine. The mics just need to see phantom from one source, but neither they nor the consoles would care if both consoles sent phantom. But normal protocol is for one console to do it, and usually that's the mon world console.

@@AlanHamiltonAudio thank you

We run 2 m32s through an analog snake with phantom on both boards. It does act differently through a Rio. ( This is my lady's account. Phone is charging.)

For live mixing, and rock/pop/modern country, I'm aggressively HPFing the OH's. That way they aren't picking up (or the channel isn't seeing as the case may be) as much stage wash like in the places where it would really be obvious. Nor toms, kick...etc... So the OH's are more for just the cymbals and some 'life' sometimes for the snare too. If I'm mixing something like jazz, then I take a totally different approach and the OH's do carry a lot of the kit sound. There's a point of diminishing returns if you move the OHs farther away from the cymbals, but that is viable option to a point. A lot depends on your stage volume and the drummer's own volume. If it's a smaller venue and stage, then I probably don't even put up OH's... because the downstage vocal mics for all intents and purposes ARE the OH's ;) If I was you, I'd try an experiment with aggressively HPFing the OHs to see how that impacts your drum mix and workflow. Heck, another option is 'under-micing' cymbals and/or specifically micing things like the ride. In this video I talk a bit more about drum mic placement and OH placement: kzfaq.info/get/bejne/q753qMpm2NOmooU.html

@@AlanHamiltonAudio thank you for the explanation

Thank you! Cheers!

Thank you! Cheers!

Not sure what you're hearing but there's no wind noise on either kick mic.

I may be hearing an artifact, however it sounds like an engine with a sparkplug removed at time 06:24ish You can also hear this wind noise in subs with ports that are too small.

computer speakers suck, hook up some better speakers @@dennisjones8991

The spectrograph (AKA waterfall) shows you more of a look at the frequencies over a section of time. While the bars on the RTA are dancing around in real-time, leaving peaks on the screen for a bit, the spectrograph is still showing your frequencies, but over the course of time. I'm not sure whatever the time is, but it's the time it takes it to scroll from the bottom of the screen to the top (before a moment is gone). The frequencies follow the normal low to high spectrum just as the are marked on the GUI. The spectrograph then shows you the intensity of the frequencies along that low to high spectrum via colors. Cool to hot. So, for example, if you hear a 6k feedback, even if you aren't sure it's 6k, you can look at the spectrograph and see red has popped onto the bottom of the screen at 6k and is scrolling to the top of the screen... and if the feedback is remaining, then it'll turn into a red streak at 6k. But in any case, you don't have to be looking at the spectrograph when you hear a feedback (to actually confirm exactly where it is) since it's operating over time and you can glance to the screen to see it scrolling up. The red at 6k will pop up and scroll to the top. So IOW the bottom of the screen, the spectrograph is 'current'... and at the top of the screen it's a few seconds ago... As far as what it's showing you about the signal over time. Of course, you don't have to be looking at it just to see feedback... you can be looking at it to see where maybe something you're hearing (like some harshness in the mix) might be showing itself overall... etc...

@@AlanHamiltonAudio Thank you for explaining!

Hello Hunter! :)

It's more of a product of the camera's built in mic and position, off-axis to the PA (plus the built in mic compression)... and the room being empty. So there's SOME natural room reverberation with the room being big and empty, but the circumstances of the camera mic exaggerates all of that. The camera mic not focused straight ahead where it could 'hear' the direct sound better in the first place, and the mic's compression lifting the level of the room reverb on the audio track besides that. If I was just capturing narration in the room, I could've used a plugin to digitally remove some (if not most) of that. But that wasn't going to work for music in this case. But the later clip in the video when the camera is focused straight ahead, and the room is filled, is a way better indication of the actual room sound.

Exactly Fortunately we're more discriminate in our hearing than a mic.

LOL... Yes... Very accurate one too!

Both really. In this case, they didn't really say... But with AC/DC songs there are some things in the original songs that I try to duplicate here and there. Like the song "Thunderstruck" has a delay cue or two.

With the sound I was getting from the DI I just wanted to add some of the top of the speaker sound with the bass mic, so once I used a fairly aggressive HPF, any phase cancellations were negligible to moot at that point and more importantly weren't really a negative to what I was getting (hearing) so I rolled with it as-is. I know the old Countryman Type 185 was wired pin 3 hot so a lot of people got used to flipping the mic polarity for that reason, even though technically the bass DI was where the inversion was. Then there's the matter of timing between the two sources which really comes down to what is a negative to the sound and what is helping the sound. There is no right or wrong answer as long as the combination isn't destructive to the overall sound. If the two sounds create a lot of cancellations in the low end and really thin the bass... that would be bad. But the HPF negated even the potential of that here.

Been a while since the show... But there are two guitar players in the band. Wasn't it just one mic for each guitar player? I don't recall a stereo guitar rig, just Marshalls and a pretty straight-forward connection for each player. That would mean just using two SM57's. One for each rig. Was it more than that? If so I'd need to dig a little deeper and try and remember what they were doing. As for the bass, we took a DI line before the amp for a nice, clean signal, particularly for the low-end it provided, and blended that with the mic'ed amp to capture the sound of his speakers (Ampeg SVT if I recall correctly). So it made for a nice out front bass sound when combined. I'm sure I rolled the lows off the mic on the bass. I wanted it to capture the grit and character of the bass sound. They have a really good sound onstage between their Marshalls and the bass and I wanted to make sure and replicate that first and foremost and be true to the material.

Yes, there is an analog splitter onstage. Each mic input on it goes 2 places: 1 set of XLR tails goes to the monitor console and the other side of the inputs feeds the house console. Normal protocol is for the stage console to handle phantom power and that's how I do it. But the truth is, it doesn't matter. If the split is an isolated split then only the non-isolated side can send phantom power anyway... but if not then either console can send phantom power. Or even both consoles can send phantom power. The mics won't care and the consoles won't care. Modern consoles won't be harmed by that. If you're using a console from the 70's... or maybe the early 80's... then maybe there might be an issue. But anything newer shouldn't care. In fact I doubt anything from the 80's cares either. But still, there's no real point in it either and like I said, standard protocol is for the stage console to handle phantom, and if there's an isolated side to the split, FOH would normally connect to the iso side (which is another reason for stage to handle the phantom since the iso side can't).

Adding +48v DC in parallel to +48v DC gives you...... +48v DC, which is to say, having phantom power on at both ends of an analogue split doesn't hurt anything. The much, much bigger deal is to make sure that the sources that need phantom power get it, and the sources that don't need it do not. For that reason, and that reason alone, it's important to farm that duty off to stage or FOH so that nobody does something stupid.

Thanks

Thanks 👍

Thanks!

Je vous en prie

Yes, system time alignment was done prior to the band's arrival.

@@AlanHamiltonAudio any suggestions or techniques? I don't have access to Smaart right now. Trying to figure out for my church, that has zero acoustic treatment. Might be treatment first, then timing, but I will take suggestions.

@TheRealGregKnight Take a look at Open Sound Meter, which is free. I've been using it for the last couple of months. Didn't dissapoint. That being said, I would treat the room first and check the positioning and aim of the speakers. The latter can make a big difference, especially in reflective rooms.

Some of that is on the camera and the camera mic being off-axis (and normal camera audio being sub-par anyway with ALC and less than the best in the circuit). The room also starts behaving better when people get in there. I have an on-axis clip from the show from a different camera that I posted to FB that is more representative of the show sound in the room but I couldn't include that in the video or else the copyright infraction police would get me.

Got ya.

Thanks!

The aggressive hpf kind of rendered the polarity flip moot. I usually would have done it in snare anyway. . Usually I just do it... but I liked what I was getting so rolled with it

Right! The guy who said he starts with overheads is smart, then you add input delay to everything else while also checking polarity to get all mics phase aligned. I check every mic against the overheads to time align, a simple 180 polarity flip is very rarely perfect.

I'm certain it was a Shure RF... but not certain if it was a Beta 58 or SM58 head. I don't recall if we used Axient or ULX-P. If it was Axient then it's probably a Beta 58 because we likely didn't change the head. I'll see if I can figure it out and report back if I do.

@@AlanHamiltonAudio Are these mics are cordless

One more favour can u plz do for me

@@Jagran_Live Upon further review, it looks like it was a Shure Axient wireless mic BUT that we did use the regular SM58 head on the mic instead of the Beta. The lead singer used a wireless mic, and the backup vocalists are all on wired Shure SM58 mics. kzfaq.info/get/bejne/r59jis-dmJ_SZKc.htmlsi=BA1q8UBCaoUCeQi8

I want to learn from the start basics of live sound can u please suggest me from where i learn live sound mixing and everything that i need to learn I cant afford it from institutions that why i try to learn from youtube video

I haven't had a chance to try one or even see one in the wild. I'd be curious to try one out, or at least get a look at one, but as of yet, I've not ran across anyone touring with one in any capacity at all. Be it local, regional, or national.

@@AlanHamiltonAudio bro, be honest with us. Are you the best audio engineer out there? Because I have never come across a channel that explains live mixing and routing better than your channel.

@@loveaboveall2382 Thanks! I just try and do the best I can.

Friend of mine just ditched his wing for a M32. The wing runs out of processing at some point and you can't have that happening.

Super tight 😂

The camera mic, being just the built in mic, and off axis and aimed at the console kind of exaggerates the room's acoustics. Especially, when nobody is in the venue and it's a little livelier than it will ultimately be when people arrive anyway. I posted a clip from the show, and from a different camera, on the channel FB site: facebook.com/groups/livesoundproduction

🤦‍♂️

You can softpatch in the M32. It used to be limited to within banks of 8, but that limitation went away in a firmware update some time ago.

@@AlanHamiltonAudio Ah, I'll have to look into this, thank you.

@@beatflyy Lots of youtube videos on how to do it. Also remember that it's all scene-able, so, you can recall patch setups. Very useful for those small opener bands, you can keep everything on one layer, then software-repatch between bands with a couple button clicks. My biggest gripe with the m32 is the under-screen rotary encoders getting flakey.

I like a vocal plate. Usually the default is a 20-30ms pre-delay and 1.5s decay. Then I adjust accordingly per song. Ballads... longer decay for sure and likely longer pre-delay. Roughly 50-70ms pre delay and 2-2.5sec decay for a ballad. For up tempo stuff, maybe even shorter than 1.5s decay... and/or less reverb in balance. Or maybe a short delay instead of verb. Sometimes I'll use a hall on a ballad instead of the plate. Depending if I want a darker reverb or not. I like my halls dark and my plates brighter.

Multiband compressor, by a huge margin. Most of what you think of as a "studio" vocal sound is multiband compression. Lots of ways to get that effect, even with mic choice and preamp choice in a studio, but live, you use the effect unit unless you have some very spicy gear (like digico's tube pre modules) and even then you're likely using a multiband to tailor it to your needs.