Ideally the best thing is to use an instrument that already sounds good, the better the source the better it will be in the mix. However, if the instrument sounds flat and you can't "fix it" with one channel, then split the same signal into 2 different channels. One channel for the lower frequencies (100-150Hz and below) and the other channel for the rest of the signal and you can process each channel differently to make it sound as good as you can. But again the instrument itself is really important, even more important than all the eq and compression you're gonna do. Also, the kind of strings that are used make a huge difference. So if someone is using the wrong pickups and/or the wrong strings, no matter how well you mix, it will be good enough but not great. The source is always more important than any processing you can do (especially in live sound) so as simple as it sounds, the best fix is to use an instrument that actually sounds good to begin with. Also, the crucial frequencies that make the bass guitar present and full are around 1kHz which is the sound of the fingers picking the strings and the more important range is around 400 Hz which is the "body" of the sound or the wooden sound that usually sounds kinda boxy on the kick drum and is cut from there, so you can boost that range of frequencies on the bass guitar and it will make it very easy to hear it in the mix. In my personal opinion the lower frequencies on a bass guitar (70-80Hz) are not nearly as important as the mids (400Hz and 1kHz)

@@danielkharrat Dude, you're a genius. A professor at this. When I used to bi-amp my Ampeg SVT 4PRO I guess it was like you mentioned...2 channels, split signal, one for lows, one for highs. But I had an 18 inch bottom cab, and 4x10 top. Bass players hardly use 18's anymore, now I know why...too muddy, sluggish...10's are more responsive. Just wish I would've known 40 yrs ago what you provide on your channel now. Thank you Professor Daniel. Subbed & liked!

If you wish to have a cleaner bottom end i suggest you get it from a DI signal not from an amp because distortion or even the slightest kind of overdrive doesn't work well with low frequencies (150hz and below) so if you're gonna split the signal have an amp for the mids and a DI fror the bass

@@danielkharrat great suggestion, thank you.

@@danielkharrat One more question sir...is it true that listening to low hertz, like around 5 to 10 can actually kill you? I thought I seen it on a video once. Thanks.

Thank you i appreciate that :) I'm from the middle east

That was manual cutting. No gate was used

Even better reason to use the expander and bed of wild room tone.@@danielkharrat Cancel Reply

Select the bus, go to the config page and set it as pre fader. This will take into consideration the eq and compression but if you have an insert after the eq and compression you have to use post fader As for the effects you can send the effects returns to the bus in the same way you send a channel to the bus And lastly go to the monitor page and turn on channel solo AFL, bus solo AFL and DCA solo AFL. This makes sure that you hear correct levels in your headphones I suggest you watch my videos about busses and about monitoring if you haven't already. In the description of this video there's a link to a Playlist with tutorials on this console

Not really, the reason the phasing happens is because its the same exact signal going 2 different places with a slight delay. But the delay is not big enough to make the drums feel like they're behind the rest of the mix

Nah you're not the only one hahah

Yup

When it come to a live mix Eq and compress each channel until it sounds good on its own then in the context of the whole mix compress the drum group so that it sounds punchy and full inside the mix. There's no one more than the other, the processing you do on the channel is to make it "not suck" and the processing you do on a bus or a group is to make it sound good in the context of the mix

@@danielkharrat Thank you Sir! I heard one (Channel or bub Sub group) should be more compressed than the other. So I was not sure if I should compress my drum channels more the drum sub group.

You can send the input. I can't remember exactly where things are on the physical console since i sold it but i can tell you how to do it on the m32 edit app Select the bass channel Go to the sends tab Turn off the globe icon on the left so that the changes will only affect the selected channel Let's say the bass monitor is on bus 8 Above that bas you have different tap points Select input Now the bass signal will go to the monitor without passing through any processing Now keep in mind each 2 busses the are next to each other will have the same tap point So if the bass channel is going to bus 8 without processing and you decide to send it to bus 9 it will also be without processing on bus 9

I don't but it's pretty simple. When it comes to the input gain, if you can get to touch the yellow on the meters, just where the green meets the yellow that's the sweetspot for these preamps. And for anything else just make sure it's loud enough to minimize the noise but not too loud that it starts clipping and that's pretty much it

Because 1 bus is mono 2 busses are 2 mono signals panned in the center Since the drums are in stereo the subgroup for the drums should also be in stereo Linking 2 busses will pan them hard left and hard right and all the processing (eq, compression, insert...) will be applied to both as a stereo bus not 2 mono busses

You don't always need all the busses for monitors, and if you do then just do the compression on the channel itself. In live sound it's always a compromise. What is more important? Based on that you're gonna decide what to sacrifice and what takes priority

@@danielkharrat I agree or use a separate console for monitors. I am just not super clear on why you are using busses in the first compression example when typically, only a few of the drums are compressed in a kit. What's the purpose of compressing the entire kit, and would you still be using individual channel compression? I think maybe I am just not fully awake yet, lol. And I am also not clear on when parallel compression would be used and why.

@@BjorgenEatinger compressing all the drums together makes them sound more like one instrument as opposed to many different instruments put one next to the other. It doesn't matter if the snare drum sounds good on its own. How does it sound with the rest of the drums? They should sound good together. Using a bus makes it easier to "glue" them together. And no, i don't compress each drum mic individually if i am compressing the bus unless one of the mics is out of control or causing trouble then i will deal with it on the channel itself. Lastly, the point of parallel compression is to add energy to the drum sound to make it sound fuller. This optional you don't have to do it if you don't need more energy or fullness in the drums

Peak

I don't have smaart because it's expensive and i don't really need it, however there's a free alternative it's called "Open Sound Meter" (OSM) that looks similar to smaart and has all the main functionality but without the extra bells and whistles. I can make a video with OSM instead of smaart as soon as I'm done with my university senior project but meanwhile you can learn a quick and dirty way to time align speakers without measurement software right here: kzfaq.info/get/bejne/bbCmisZ61pedqIk.html

@@danielkharrat thank you! I’m looking forward to your video!!

Well, that's unfortunate to hear. There's wasn't any gate, i cut it manually in some places

You can send me your questions on Instagram or via email i don't do calls

@@danielkharrat Oh okay..what's your email kindly?

@@mosesngatiah6365 danielkharrat2@gmail.com