I can't seem to find your other comment about the SnareBuzz plugin, but I checked it out and it looks pretty rad! We mic bottom snare, so we're getting that rattle naturally, if that's not an option for some reason, that plugin seems like a great solution!

Man, what a great and complicated question! First and foremost, I sense a disconnect between you and the band. I’m guessing you’ve asked them not to adjust their volume and they disagree and continue to do so. The first thing you need to do is earn their trust and get on the same page. I like to show up early to practice, set up for them, bring coffee/donuts/pizza whatever, just do something nice for them and always greet them on the stage where they are - remove the physical distance between the booth and the band. I like to multitrack record the band during a Sunday or during a practice and then during the week, sit with them in the seats, explain the problems you had as a mixer, then play it back for them. Let them hear what their “dynamics” actually are doing to the mix! Then you can work on a solution TOGETHER. Come to this conversation with humility and an honest desire to create a better sounding mix. You need to work on getting “change in your pocket” i.e. gain trust in areas you know you agree and then you can use that trust to try and “buy” trust in other areas. “Hey, remember when you brought in that new amp and I helped you get it sounding great for the mix? I want to try doing the same thing with your new acoustic to get it to sound great in the house too!” It’s a long road that requires patience, humility, and trust building. Good luck man! You can do it!

@@ChurchTechTalks wow thank you so much for your insights. I really appreciate it.

Glad you enjoyed! That’s definitely the risk of running something like this live. I always recommend that you push it harder than you ever would during the service to confirm that you have plenty of headroom on your CPU.

Is this modified Luke Hendrickson template or yours custom built?

Dr Sam Nope, this is my own template. I can’t speak to the similarities as I’ve never used his, but I would assume there are some since we’re both using tried and true mixing techniques.

@@ChurchTechTalks Sounds same, so. I hope its not costly like his.!

Dr Sam Hey, I’ll take that. He’s a great engineer! Although officially I’m #TeamGreely ;)

Hi there! I want to ask you some questions about the BMDPC! Let me know how to contact you, i dont use Twitter

What I do is create an aggregate device in Pro Tools with an Apogee Duet so I can output two channels locally. I’m sure something like this is possible in Logic. As far as getting sound back to FOH, you may want to do something similar. Maybe find an interface with four outputs? That way you could route two outputs to FOH and two to your broadcast switcher.

Nope. Your video delay will always be FAR greater than audio delay. In fact, you may even find that you have to add even more audio delay to match your video.

@@ChurchTechTalks i mean I’m going to use propresenter, it’s gonna make a lot of delay using the daw with all those plugins. Or is it not? Thanks.

@@GSJSJakarta you will have more inherent latency with whatever video signal you bring into propresenter than the delay ProTools and plugins will introduce.

I'm pretty familiar with Dante and you're right, it's a great solution! I've recommended it to others in this thread. Since we had a full AES50 system already in place, it was cheaper and easier to go with the DN9630. I've also been using ProTools for almost 15 years now (first version I used was Version 7...gosh I'm old!), so I'm very comfortable with aggregate devices. If I were doing it from scratch I probably would go the Dante route. :)

Yup, exactly. I mention this in the video, but wasn't sure if it was specifically a ProTools limit or if it was a mac sound card limit. I know that you can get around it with ProTools HD, but that requires HD hardware. Maybe some Reaper or Logic folks out there can share their experience with higher than 32 channel count interfaces :)

it’s all software base

Tom Brush haha of course it is. Leave it to Avid to put arbitrary limits like that. I remember when ProTools finally allowed you to open it without a digidesign interface plugged in, such a game changer...years after every other DAW let you do that 😂

Drew haha it was really the ProTools mix PLUS screen recording PLUS AC being off. Not a great combo, but it made it to the very end! Not bad for an 8 year old iMac!

Scott Thanks for sharing your gift. By the way, what type of iMac is in the Video. (i7 or i5 quad core 16GB RAM)?

@@mspark933 The iMac is a 27-inch Late 2012 3.4Ghz Quad-core i8 with 32GB 1600MHz DDR3 ram and an Nvidia GeForce GTX 680MX with 2GB of VRAM. Originally purchased in 2012 for video work. Recently replaced that with an iMac Pro and moved this one to the broadcast position. You could easily buy a brand new imac 6-core for $1,500 at Apple right now that would outperform this thing. Video cards and RAM aren't super important when it comes to a broadcast setup like this, processor is what matters, so go for the beefiest processor you can afford, but we're doing just fine with an 8 year old iMac. Also, if you're going to buy one, I'd wait until August, rumors say there may be an iMac refresh in August, so you'll get way more power for the same amount of money - or a way better deal on a used one! Take care!

Aaaand iMacs updated today!

Thank you! Happy to help :)

I keep my master out pretty simple. Usually an SSL Bus Comp (mix glue) into a mastering limiter (Waves L2, Massey L2007 is also great)

Yes. I do vocal and fx processing with Waves plugins using Multirack. I don’t use it on every channel simply because the built in eq/gates/comps on everything else is good enough, but vocals and fx really shine when you can give them some waves love. If I were to add any other elements (especially drums) I would probably try and bring everything into Waves Multirack for automatic delay compensation so they are all time aligned going back into the console. Here’s a video I made on fx, hoping to do one on my vocal chain soon! kzfaq.info/sun/PLUXiAOnA3WEnq2WcvEPTpvP-FxKQxJpRl

We can if we want to, it just depends on the need. We generally don’t record multitrack every service.

It’s certainly cheaper than getting a second Midas Pro series console! Some churches just have extra consoles on hand and it’s a budget thing, but if you’re buying something or using a second desk isn’t getting the results you want, I highly recommend this route.

I’m gonna give the preface that I have not tried this, however, it’s a 48x48 interface, meaning it has returns. I would assume you could use User routing to get AES50B channels back to the console, so this should be possible, but you’ll want to test it out first :) best of luck! Let me know how it works out!

@@ChurchTechTalks Hey there. So im trying to get the Klark Teknik, and its not available anywhere. like ANYWHERE. Any advice on a product thats similar?

@@joshuataliaferro It seems lots of companies are having supply chain issues at the moment. Depending on your setup, you could go with a Dante card and take dante straight into your mac with dante virtual soundcard amzn.to/3dtrKKK

I’m using H verb for all of my reverbs. I have one I put on the skins of the drums (snare and Tom’s) and then a short verb for my vocals and a long verb for my vocals. I’ll sometimes throw a verb on an acoustic or electric if it’s super dry, but usually I don’t.

For live audio, I run an M32 at FOH and use mostly built-in processing - as for *how* I use the built-in stuff, it's primarily in-line with common mix practices and I would direct you to people like MXU.rocks (run by Lee Fields and Jeff Sandstrom), Drew Brashler has some great stuff on KZfaq for the X32/M32 consoles, and Robert Scovill if you really wanna go down some rabbit holes! I do use Waves Multirack for vocals and I'll probably make a video specifically on my vocal chain in the future :)

Happy to help! You should be able to use the line outputs on the back for the Atem Mini Pro and headphone output on the front for your studio monitors. These will be fed the same mix, but you'll have individual volume control for each via the Scarlett. As far as sending to worship room, it depends on the distance. Our broadcast mix position is right next to our atem, but if your isn't, you'll need to find the best way to send it back over which will greatly depend on your setup, but I'd recommend trying to stay digital until the ATEM if it's a long run.

@@ChurchTechTalks Thank you very much again, I will try to use a cable connected to the scarllet output for the Atem mini (1/8 "Stereo male for Dual Mono 1/4). Thank you very much.

@@eliabiiii Yup! That should work, but I’d recommend 1/8” stereo to 1/4” dual stereo like this www.amazon.com/TRS-Dual-Stereo-Audio-Cable/dp/B0795VR79Wa otherwise your beautiful stereo image will become a summed mono feed.

@@ChurchTechTalks, thank you very much but your link doesn't work, so shouldn't I use this cable? rb.gy/sk2775.

@@eliabiiii oops sorry. Try this one amzn.to/2TsvYXU

Sam Bassal the latency is so minimal that I can actually run my protools buffer at max (I believe 2048) and still be ahead of video. Video latency is almost always going to be more. The exact amount you will need to delay the audio *more* is dependent on how long your video delay is (which will change based on your gear)

Daniel Joseph so for that sample I actually sent the other samples to a bus and processed it with a comp to squash it, then exported it as my own sample so that I could get that room sound I wanted blended in without adding more processing load getting me closer to my CPU limit.

ProTools has automatic delay compensation built in, so it will automatically delay everything to the length of the longest delayed channel so everything aligns. I can’t speak to other DAWs, but I’m assuming all the major players do something similar.

Nope. Most of my Pro Tools training was from my brother-in-law who was a producer at tooth and nail records. Although I believe him and Chris Greely worked with a lot of the same people. Probably very similar philosophies on mixing.

I use the waves bus comp, based on the SSL bus comp and just do the classic “mix glue” technique. You can probably find a million videos on this. As for limiting, I use the Massey L2007 Mastering Limiter. It’s simple and sounds good.

Go ahead and email me at ChurchTechTalks@gmail.com

Yes. Plug a Ethernet cable out of AES50B on your X32 and plug that into your klark teknik DN9630, plug the 9630 into your MacBook. Then on the X32 you can send whatever channels you want out of AES50B over to your MacBook! Good luck!

@@ChurchTechTalks How do you patch that? Can you send me a pic of your patch screen for the AES50B? We use a DN9650 with Dante card into our iMac and DAW, but it should be the same principle/patching from the M32R, right?

Thanks Fred! Glad you liked it. :)

You’re welcome! More content coming soon so be sure to subscribe :)

I’m a Mac guy, but I found this article that should help you setup and aggregate device on windows: www.sweetwater.com/sweetcare/articles/aggregate-audio-devices-and-drivers-for-pc-and-mac/#

Thanks! We needed an interface in the broadcast room to give us some local outputs. Otherwise we’d only have our one headphones jack output on the iMac with no ability to solo without it effecting out feed to our ATEM.

Thanks! No latency issues because you can run max buffer since your video will be delayed more than audio anyways (it actually helps get you pretty close to in-sync with video) drummer does not hear replacements, he’s getting audio from P16’s via M32, so he’s got kick in one channel and a stereo bus we mix of the rest of the drums. He can blend those channels to his liking.

Awesome , thanks for the reply. This might be our next toy. 😃

@@AZ-D Very cool! It’s a huge upgrade to audio for your broadcast audience. I sell this template and the two trigger sounds I created for $99. If you’d like to purchase just email me at churchtechtalks@gmail.com

Took me a while to figure this one out too! Basically, you want to group those channels (I named the group Autotune Group) then you modify that group so the only thing that’s actually “grouped” when you enable it is insert a.

@@ChurchTechTalks Wow amazing! It worked thank you!!

Dropbox discontinued Dropbox Shop. Shoot me an email and I'll get it to you.

I have the same question, except to a DN9650. Can't find routing/patching for this anywhere.

I explain the IO at 7:38. As far as actual wiring I go from M32 to DL32 over AES50A, then I go from the M32 to our Hub4 over AES50B, then I come off the Hub4 to a DN9630 which is located back in our broadcast room. This brings those AES50B channels to our iMac. Hope that helps!

Church Tech Talks Awesome! Thanks for the help!

Yohermry Kpodo happy to help! You could help me out by subscribing if you haven’t already :D

Hello. Awesome video. So are you getting you audio from the HUB monitor system back to the streaming area using the AES50 interface, your streaming is “sitting on the system as a “personal monitor”. how about the gains? Are they coming back as the same gain placed on the M32 for the main stage or you have some gain control between those units? Cheers!!

@@goltaraagag Hey Andre, sorry missed this one, we're bringing all the channels we want over the AES50 B run, the routing is M32 > Hub 4 > DN9630. Gains are set at the M32 and that preamp gain is shared by all the other devices, which isn't a problem so long as you have good gains at FOH.

This is my own template. Likely to do an updated version soon with new routing to take advantage of the 64 I/O with the latest ProTools update. The DN9630 was selected because of the long run and we also use USB at FOH for Waves Multirack.

@@ChurchTechTalks thanks for taking the time to reply...interested in the template but it's only for PT, no Logic right?

@@kingdombridgechurch4735 correct. No logic. I’m a Pro Tools guy :)

Thanks Micah! I run max buffer (which I believe is 1024) and it actually ends up being pretty close to aligned with video - video is almost always going to be behind audio purely because of the speed of data transmission, this works out wonderfully for Broadcast though since it gives us more processing power on the computer.

@@ChurchTechTalks hi, what about sample rate? Did you run 44.1 or 48 or higher while record n mix live? Thx man 🙏

@@antoyohanesmix you’re limited to the M/X32’s 48 max sample rate, but we run at 48.

I sent the mixed audio out to our ATEM like we normally do for our livestreams and recorded the stereo mix on a hyper deck mini.

I’ve used Logic exactly once and that was to play around with the Billie Eilish Logic session that Apple released, so I’m not sure I’d be the best candidate to make the Logic template for this. Not a knock on Logic, I just don’t have the experience to do this

I’m totally not a Windows guy, so I may be the wrong person to ask, but a quick Google search seems to indicate you could use ASIO4ALL.

The Clark Teknik receives all 48 coming over AES50, but you can only access the first 32 in ProTools unless you have HD. You do not have gain control, but as long as your FOH engineer is using good gain structure, than this shouldn’t be an issue.

@@ChurchTechTalks thanks for reply, really appreciate..

The focusrite likely isn't putting out as hot of a signal as the ATEM can handle. Our Apogee Duet gives us a pretty similar meter reading on the ATEM as we have coming out of ProTools. Bringing the volume up with the ATEM is an ok solution. In the future, you might want to find an interface that's output matches the input of the ATEM so you're not having to add a gain stage in there, but it's not the end of the world. As a side note: we're coming out of the ATEM into an amp to feed distro audio and that signal was too hot for our amp, so we had to add a amplifier in between the two to bring down the volume before it hit the amp (I did a short video for this a few weeks back). Basically similar thing to what you're experiencing (input/output mismatches)

Haha right?!

I’m not sure how to route it in Logic, but I’m sure it’s possible to set up similarly to the routing I have here. As for gear, can you use that interface as a USB device? I ask because at the moment you only have two channels of output (left and right of your 3.5mm output) you need 4 separate outputs to really make it work so you can route the solo group to separate outputs. Any type of two channel or more output USB interface should give you that!

I know this is probably late but with Studio One has a listen bus that doesn't affect your livestream bus.

Maybe you could clarify your question a bit for me. Are you asking how could you use this in a live situation? Or do you mean how do you use this in church like I’m doing here?

Some of the snare and kick samples come with the Trigger 2 plugin. Fat SN 2, Kick Room Sample, and Snare Room Sample are all custom made. I sell those for $30 for all three. Email me at churchtechtalks@gmail.com if you'd like to purchase!

You’re better off getting a Dante card for your SI2 and bringing your channel in on that.

Most of the triggers are from Steven slates stock files, a few are custom that I either made myself or got from a much more talented guy than myself :)

Yes you can change volume in Pro tools while you are recording. The gain is controlled by your FOH mix engineer on the headamp (in this case the DL32) and should be set during sound check. If gain adjustments are needed during the service (like if a vocalist all the sudden decides they want to sing 10 times louder), the front of house mix engineer can correct it which will fix it in your protools feed.

Awesome. I just ran a test tonight and you can change volume! Dude…this is an amazing tutorial video! Thank you.

In ProTools there are two ways to listen to the track, either record enabling them (red circle button) or input monitoring (green l button). I’m not sure if one has more or less impact on CPU than the other but I would assume recording is more tasking.

@@ChurchTechTalks We are looking to track at the same time for post mix down as well. and thats what i figured was happening i just didnt see it in the tutorial. also, does input monitoring still run through the plug in chain?

Jamie Murphy yes input monitoring still runs through the plug-in chain. If you are recording, you may have to switch from auto input monitoring to input only monitoring (on Mac the shortcut is Option+K) I forget which one you want, but one doesn’t let you “listen” unless you are recording, the other let’s you “listen whether you’re recording or not.

@@ChurchTechTalks So just purchased the S1 for our upcoming broadcast rig. We will be using a Focusrite Scarlett 6i6 in place of your Apogee. My questions was how you formatted the S1 for your VCA look. I love the idea and that is how we often work at FOH as well. If it is simple as "User Manual" will show you i am ok with that, just was not sure if it was a big process to configure the S1 as such. Also, thank you so much for your time and responses. Very helpful in our journey to build a system.

Jamie Murphy happy to help as much as I can! Keep in mind that the scarlet 6i6 has 4 inputs, so when you build your aggregate device, you will lose the last 4 inputs of your console since your 6i6 will take up the first 4 of your I/O (which is capped at 32 channels in protools) As far as the S1, you can assign the faders to be whatever channels you want in EuControl under the Assign tab, once you have it set up the way you want, go save your layout so you can recall it if it ever gets messed up. I put all the VCAs I created in our protools session on those faders and you can double click the select button on each fader to “spill” that group on the S1 faders. It’s a very sleek setup and real easy to train people how to get around fast!

I don't have much experience with HP laptops or Ableton, I would double check that you have all the necessary drivers in addition to the software. If that doesn't work, I'd reach out to support from Midas and Ableton and see if you can get a response.Good luck!

I personally don’t mix song to song with scenes/snapshots. I know a lot of great mixers that do and a lot of great mixers that don’t, so not knocking you if you do. I believe the Avid S1 can save snapshots, but I’m not sure it recalls fader positions for every channel, there also might be a way to do it in pro tools, but again, because I don’t mix that way I’m not sure. Generally once the band is set, the only time I’m adjusting them is to bump the fader a bit for leads (which I then pull back to where it was after the lead is over), roll back the mix on the snare replacement to get rolls and ghost notes when needed, and actively mix vocals to ride the leader and fx to desired amount. All of those values change a lot throughout a song, so giving me a “start point” of each song really doesn’t save me that much time since my default mix should be pretty close to a start point anyways, I’d rather just make notes of who’s singing, what key we’re in, and where leads are (if I’m not familiar with the song)

@@ChurchTechTalks gotcha do you know if the waves tune group works in logic or is it only a protools thing still?

@@DanielJosephh I've always worked in Pro Tools so I'm not super familiar with Logic, but I know there are some options in Logic for Antares autotune and I assume this would apply to Waves Autotune Live, though I'm not positive. This video shows how you can do it with Antares and control surface assignments (this would be great if you have a cheap little midi keyboard lying around, you could literally just assign the keys to the notes and change by clicking the notes.) facebook.com/michael.heath.5/videos/10217623892409280/

@@ChurchTechTalks oh man is there a different link I can't view the video

Yes! Finally!! No more need to customize the io. You can now setup the X32 as the first interface in the aggregate device and have 1:1 inputs. :D

@@ChurchTechTalks awesome! Thanks for the update :)

Yup, works live! That’s how we use it.

Tlhalefo Moshanyana we have a dedicated AC in our media room that’s usually on to keep things cool and running well, but I turned it off for the video, hence the computer melting haha. A beefy processor solves it :)

Church Tech Talks haha thanks for the video nonetheless. Great content. Looking forward to more

That’s dependent on the I/O you have in your specific setup, but how we’re doing it is an Apogee Duet at the iMac which then sends two outputs, one we use to send audio straight to the ATEM via XLR cables, another we use to feed our Yamaha HS8’s and a third out of the iMacs headphone jack that we use to feed headphones that we can use to solo or just listen with headphones should the mixer prefer to mix on headphones

You can reach out at ChurchTechTalks@gmail.com

It depends on which interface you are using, but basically you will come out of the interface analog and go into one of the two 1/8" mic inputs on the back of your atem mini pro. If you're using an Apogee Duet like we are, I would use the XLR outs to power my studio monitors, then use the headphone out for broadcast (1/4 to 1/8 is very easy to adapt). However, since we have the ATEM Production Studio 4k, we use XLR outs of the Apogee to XLR ins on the ATEM. Hope that helps! :D

@@ChurchTechTalks where do you go from the Atem switcher? Do you stream straight from the switcher or do you send audio to something like OBS or Wirecast?

@@bb19963 We go out SDI into a Resi Ray encoder. We formerly used Ecamm Live and I definitely recommend that as a cheaper alternative! Here’s the vid I made on that. If you end up using it, be sure to sign up with my affiliate link in the description, it helps me make more vids for this channel :) kzfaq.info/get/bejne/fshihbB7u9m6pGw.html

@@ChurchTechTalks thanks man!

How many tracks you planning on running? Unless you’re using any of the HD stuff, the standard Pro Tools should work great for you.

@@eliasdotcamara what is the benefit of going hd?

@@DanielJosephh I believe that Pro Tools HD taps into audio for film and has features like 7.1 surround sound formats and allows for more video files and inputs/outputs. You need some of the HDX hardware if you’re going the Ultimate route too.

The main difference for this setup is simultaneous recording channel count. It's capped at 32 in non-HD, but it's $$$ to get an HD rig that supports more than 32 inputs.

Yup! You do this by creating an aggregate device which joins multiple interfaces together into one aggregate interface. I covered this at 5:25 :)

@@ChurchTechTalks how you fix the trigger latency?

Samuel Fuentes with Trigger 2 in live mode, latency is fairly low, combine that with Pro Tools 12’a built in ADC (automatic delay compensation) and all your tracks will be aligned auto-magically :)

Samuel Joseph I’m open to making more videos on this template. What kind of information would you like me to cover that I didn’t cover in this video?

@@ChurchTechTalks It's already informative and complete, just curious to know the Logic or Pro tools version with stock plugins, to people who cant afford waves. And thanks for your videos. Very helpful!

Samuel Joseph I’m partial to ProTools since it’s what I’ve been using for over a decade now, but I’ve heard some of the built-in plugins in logic and they’re seriously impressive. I’d probably go that route if I were more familiar with Logic or starting out.

@@ChurchTechTalks Thanks.

@@ChurchTechTalks Just Curious! How do u bring up Pastor's volume and effects with being too low or compressed? Thanks.

It should work with any stage box that has multiple AES50 ports, but you can also come off of the AES50B port on the console itself as well, which is what I’d recommend so that you have full control over what channels you’re sending to the broadcast computer.

There definitely could be some. I try to avoid it as much as possible by making sure mics are aligned properly, phase of triggers are all aligned, but this is a live performance and microphone stands can move and vocal mics are going to pick up not just the acoustic drums behind them, but also the PA in the room itself. That could be what you're hearing. Take care :)

We use a few from Slate's library and I made a few of my own (kick room and snare room). I sell the ones I made for $29 if you're interested. Just email me at churchtechtalks@gmail.com

Gain is shared, but that shouldn’t be an issue so long as your FOH engineer is properly setting preamp gain.

Yup, I was on 7th Heaven for a couple years. Thanks and take care :)

Hi Caleb, the Mac specs are listed in the description above! I’d copy and paste it for ya, but for some reason it’s not letting me do that on mobile, so just scroll up :)

Email me at scott@reliancechurch.org

Actually in ProTools they do call them VCAs, even though technically they’re digitally controlled amplifiers.

The X18 doesn’t really utilize AES50, it does have ultranet, so you might be able to get 16 channels into a DAW with that, but you’d likely be using that for IEMs, and I don’t even know if that would work with the DN9630.

@@ChurchTechTalks Thank you for the quick response! You're the first one to respond out of all the once I commented. I am confused, can't you use the USB cable to plug into a DAW and use it as an interface?

@@eriedelosreyes1655 yes you can! I responded based on my memory of what the X18 had and I forgot it had a USB interface. You can totally use that!

@@ChurchTechTalks No problem! I asked to make sure I understand properly.. lol my next question would be, how can I transfer the output from DAW to livestream?

@@eriedelosreyes1655 In ProTools you can do this by creating an aggregate device which is basically a combination interface of your X18 and something else that has physical outputs. We use an apogee duet, but you could also simply use the headphone output of your Mac.

I'm not sure I know what "2 bus" is, which bus are you referring to?

Aaron Grubbs Sweet upgrade! Yes, all of this would still apply. The only difference would be that, since you’re using GLD80, I would recommend using a Dante card on your console to send Dante audio to your broadcast computer. If you do that, you don’t even need an interface at your broadcast computer. You can use Dante virtual sound card to take the Ethernet straight into your computer and have 64 channels of bi-directional audio! Keep in mind you’ll still hit a 32 channel limit in ProTools, but you could either configure a ProTools HD set up or move to Logic or a free solution like Reaper or Audacity. I’ll reach out to you today regarding consulting.

It’s a live-performance and unfortunately his guitar fell out during this one, it happens. As the broadcast engineer, sometimes things are out of your control and you have to do the best you can with what you’re given! A good lesson for all 🙂

Drums are real, some sounds are sampled, but even those are real drum sounds being triggered by Steven slates’ Trigger 2 plug-in. This is the exact thing used in pretty much every album you’ve heard in the last two decades and now possible live!

@@ChurchTechTalks eheheheh don't tell our secrets