A few things could be at play... I suppose the first and easiest problem could be if you mean in the master section of your mixer you have the master bus outputs tapped as prefader. Those should be post fader. It's the monitor sends on the channels that should be at some point pre-fader. That might not wholly explain it but would be a start. Excessive EQ boosting, either at the channel level if post-EQ, or on the bus outs, could also cause that. Especially low end boosting, but anywhere could add up. Other places to look: Makeup gain on the compressor. Excessive makeup gain either on the channels or the bus outs could exaggerate the signals and chew up headroom. Or both places. Keep in mind, makeup gain will still be boosting even if the compressor is only engaged but the signal not hitting the threshold. It should be set based on the amount of compression, not just turned up. So if maybe those have went unchecked, that is a place to look. IOW... If the GR meter is showing an average of 10db of gain reduction, then you'd want 10dB of makeup gain. But if you're just using the comps to take the peaks off/down a smidge and the signal isn't always into compression, then makeup gain could be unnecessary at all. And along those same lines, too much compression in the first place could lead to pushing signal hotter down the line. And just end up in a vicious cycle of sending a hotter signal and the compressor clamping down more... but still driving the overall level towards clip. And really often. Of course, it could be after the console... if whatever you're driving itself doesn't have enough input gain/sensitivity dialed in, or isn't capable of reaching the levels asked of it, then you could just be sending too much signal via the channel monitor sends (bus sends) and simply are running yourself out of headroom on the outputs. IOW... if you're driving IEMs maybe the input level of the transmitter(s) needs turned up and your channel sends overall turned down. Or maybe it's the performers and their packs... If they have their packs choked back too much, and then need more level and they expect you to give it to them in drips and drops from the channels until you're almost out of headroom, maybe they should've just turned the packs up? There also could be a scenario where they have their packs dimed (and they really should try to keep them around the center position as a starting point... but I digress... ;) )... and then you have the transmitter(s) choked back on the transmitter input(s) so they didn't get their heads blown off (with their packs starting at 'WFO') then THAT could lead to you simply sending more from the channel monitor sends/bus sends than what would be good gain structure practice. Also, contrary to internet myth, when the comp is AFTER the preamp, no amount of compression will keep a channel from clipping the input. Some people make the mistake of dialing in a ton of compression thinking it's helping their input headroom, when in fact it's just messing up the rest of the signal chain. Long story short... just because the channel input level is right, it's just the start of the signal chain. Plenty of places for system gain structure to be wrong after that.

Thank you Allen, as far as eq, I'm mostly a minus eq person. My Compression is light, mostly in the 4:1 range, usually make-up gain is set a bit lower than the actual compression taking place. I really appreciate you getting back to me so quickly!!! I will go over your suggestions one by one to see if I can figure this out. Thank You again!!

If the speakers are powered, they don't need an amplifier. Only passive speakers need an amplifier.

That is strange. The USB connection should be the cleanest connection of all. If it's static, dropouts, that kind of thing, I'd suggest a new USB cable. The max length on a standard USB is only like 15' so shorter is better, and you definitely don't want to push it beyond that without looking into a powered USB cable. But if the audio is just muddy sounding, that can't be a USB issue. Obviously, the data is transferring. I'd look for any settings in the laptop audio that might be causing issues like an EQ engaged, or some type of 'spatial' settings, or something like being set for 4 speakers when it should just be stereo. Make sure the channel(s) you have the USB routed to don't have some kind of funky EQ dialed in (just disengage the EQ for testing)... no excessive low cut or hi cut dialed in.... Compression not engaged (or if you want some compression, make sure it's not excessively into gain reduction). Also, double check you don't have something unintended inserted on the USB channels (like a compressor or EQ, etc... and that is where the problem is coming from). And then, make sure there's not some accidental reverb/delay/chorus dialed up on the USB channel(s) muddying things up.

@@AlanHamiltonAudio thanks. Will keep trying - love your videos by the way - keep up the great work!

@@AlanHamiltonAudio I think it’s an issue with the headphone output or my headphone adapter (when it’s inserted all the way - it gets a overly compressed sound) but through the main speakers the USB music playback is clear.

Huh?

That's a tough one. I'm going to assume it's something to do with the DAW settings at one point or another in the chain. On X-Air Edit, go to SETTINGS... Then Audio/MIDI... In the MIDI Config section, are any of those boxes ticked? If they are, write down which ones it is (so you can remember in case you need to set it back) and then uncheck all the boxes in the MIDI Config section. I suppose, to be sure, reboot the console and double check with X-Air Edit they stayed unchecked. Now, try your mixer again, with the USB connected and see if that fixes the issue. Hopefully, it does, AND there was no reason you needed those boxes checked for something that you're doing. By default, none of that stuff is selected.

I've been using them more on live music stages and fan noise has been a non-factor in that environment. I have used them in a corporate speaking engagement too though, and I don't recall the fans being excessive.

Thanks!

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.

It sounds like something is definitely wrong in your routing. You shouldn't be hearing any of the house mix in your ears (except for just the room bleed some mics (like vocals mics) might pick up. Maybe check out this video (linked below) and see if you see something you've set differently or misunderstand in the outputs. Of course it could just be something got accidentally changed so it might just take some careful cross-referencing of settings and double-checking them. kzfaq.info/get/bejne/ead_aJmJktvch58.html

@@AlanHamiltonAudio Thank you

It's actually "averaging" -18dBFS on the input meter and peaking even higher that is what I'm talking about in the video. So if you're actually peaking at -18dFS you shouldn't be getting close to clipping the outputs. Excessive boosting on the channel strip EQ... like dialing in lots of low end to things like the kick, keys, and bass guitar could eat up headroom. What about the makeup gain on the channel compressors or bus compressors? That's another place you could be adding level to the signal in the chain. (Unintentional) Double assignments is another place that can eat up headroom. Example: You have channels assigned to Left/Right AND to a subgroup (that is also assigned L-R). You should have the subgroup assigned to the L-R (normally) but NOT the channels that are feeding the subgroup (you don't want to give those channels two paths to the L-R bus). Even accidentally assigning channels to multiple subgroups. Another place you could be double-assigning things is by accidentally having one or more buses (in the master section) assigned to L/R. Since a bus can be a subgroup OR a monitor/stream/etc. feed, you have the ability to assign the bus outputs to the main L-R. This happens a lot and it's usually not noticed until someone tries to fader down a channel and it continues on in the house. That's because a pre-fader monitor or stream feed (etc) was left assigned to L-R giving those channels two paths to the L-R bus (one path via direct assignment on the channel strip) and one path via a pre-fader send into a bus output that is also assigned to the main L/R. I can't remember the last time I had to worry about clipping the L-R outputs following proper gain structure practices. So something must be wrong somewhere in your signal chain.

@@AlanHamiltonAudioyeah there has to be someplace else in the chain. I'll have to go back through it all and see if I just missed something obvious. Or might just wipe the board, rebuild the mix and retest from scratch. Someone mighta flipped some things around when I wasn't looking! Thanks for the detailed response.

@@VegasAudioRentals LMK what you find out.

There's already a compressor on the main L-R outputs... you just need to engage it. Or you can insert a 'vintage' compressor emulation from the plugins on the L-R outs by selecting it for one of the FX Rack slots

It's 2024 and the term Ethernet cable is perfectly acceptable when talking about twisted pair cables that are typically used for Ethernet purposes. As is the term "Network cable". While it could mean other types of network cable (like coax), the reality of modern practices makes "Ethernet cable" a perfectly understood term when talking about cable such as Cat5e cable. And when you're searching online for it, those are the two terms are most likely to lead you to purchase options. Understanding STP, UTP, etc... is how you get to the version of the cable you're looking for.

Glad it was helpful!

Yes... if I'm reading you correctly you are grasping what is happening exactly. IF a musician has a mix of all vocals in their monitor mix, then it's probably not going to hurt or be distractingly noticeable if you add reverb and it ends up being heard on all the vocals in that mix. But, as it sounds like you are surmising... what about the singer that wants almost only themselves, or nothing but themselves in their mix? Bringing up that verb will then have 'ghost reverbs' or 'ghost signals' showing up in his/her mix. Now, it's possible that's STILL OK.... And it's also very possible the singer will HATE it because they simply don't want to hear that much of the other vocalists, if at all. Whether it's just ghost reverb and no dry signal or not. In that case, you need to follow the section of the video that is talking about a dedicated reverb for monitors. A reverb that you dedicate to ONE person and primarily for only their mix. Although, no law says that if someone who is taking the lead vocal in their own mix can't ask for and get a bit of that dedicated lead vocal reverb too. Obviously, you lose an FX rack slot to have a dedicated monitor reverb. And if you have MULTIPLE people that want no ghost reverbs, but want reverb, then you have to dedicate a separate reverb for each of them, until you run out of FX slots in the FX rack that can handle reverb. IF you're using a dedicated monitor console, this can be more manageable. Odds are you won't have a full band that needs a dedicated monitor reverb for each of them anyway. So, with no verbs needed for FOH, you probably have the tools to get by, maybe exactly or definitely with a bit of compromise. But if the console is doing FOH and Mons from FOH, then it gets more limiting. You almost definitely will want to utilize 1 or more FX rack slots for a FOH reverb. And IF the ghost reverb scenario is too distracting for too many musicians, you are kind of painted into a corner much quicker than you would be on a dedicated monitor console setup.

@@AlanHamiltonAudio Thank you thank you thank you my guru! I totally understand now that adding reverb on monitor 1, will be ok for vocals because we add the same reverb anyway for both vocals (male/female duo). I remember now how this question came up, it was because the guitarists are using a modeler (quad cortex) and they have reverbs in their patches already. So if I send the guitars to monitor 1 for example, they already have reverb by themselves. So when I start adding FX1 reverb to vocals on monitor 1, then my worry is that it will now add more reverb to the guitars that has already reverb in them to begin with, then now it's too much reverb on the guitars. Same with the drums, if I send FX reverb to monitor 1 for vocals, then the drums will get the reverb as well. It may or may not sound good. I will look again on your video about dedicated reverb. I think what I'm trying to do is to find a way that in monitor 1, ONLY THE VOCALS get's the reverb and not the other instruments that are being sent to monitor 1 as well. Thank you guru!

Thank you! :)

It's kind of hard to do without having it all in front of me... But did you watch the User Input routing video? The concept is basically the same if it's just a matter of understanding the concept(s) you need to follow to make it work: kzfaq.info/get/bejne/fLCogbSJ38jMlIU.html

@@AlanHamiltonAudio Thx

I don't remember the link offhand but if you scroll thru the video text description, there are link(s) there.

You're probably not going to find an analog mixer that fits the bill. They're just going to have one reverb or FX option and that is that. Otherwise, you'd need to get an analog mixer that has (post fader) aux outputs and buy external FX for the different effects you're wanting. So if you want 3 different FX you'd need 3 post fader aux sends on the channels, and 3 different external rackmount FX. Probably, by the time you put all that together you could've just bought a small digital mixer that would've had the FX all built in. Something like the Behringer XR18 (or Midas MR18) has 16 mic pres, 2 stereo inputs, 8 outputs, and a 4 slot stereo FX rack. So that means you'd have four FX slots to use any of the built in FX. You can get other digital consoles in the X-Air range that have less channels and outputs, but that same 4 slot FX rack. You'd need to use a tablet or laptop to control these. And there are other things like the Midas M32R or Behringer Compact that DO have a surface if you prefer not to use a laptop or tablet. Soundcraft, QSC, Yamaha all have small digital format consoles. Some with surfaces and some you'd need to use a laptop or table for. You'd just have to research the various ones to see what one best meets your needs. The gist of it is, a digital console with a four slot FX rack will give you the ability to have 4 different FX that you can apply independently to your percussion. This video is made for different reasons, but it should give you a clear picture of how the FX rack works and you can expand that knowledge to any options you look at: kzfaq.info/get/bejne/irxlds95xLO7ook.html

Thank you too!

I found this contact info: [email protected]

@@AlanHamiltonAudio thank you!

If you look on the channel video list there are a few videos showing my EQ techniques on drums. There's even a playlist with several drum videos in it.

The global setting only applies to the tap points of the channel sends. This video talks about tap points: kzfaq.info/get/bejne/nruoiaR9ubeXgKM.html It doesn't include anything else to do with the channel sends. For example: if you have a channel send set at unity, the global option won't set every channel send to unity. It's just the tap points (sometimes called 'pick points') that it will allow you to set globally. The meaning goes back to the signal chain and the point where a send is 'tapping' or 'picking' the signal from within the chain. It also works only on one bus send (channel send) at time. If you turn global on, and then change the bus 1 send to post fader, it'll only globally change all channels on bus 1 to post fader. It won't change bus 2, bus 3, bus 4... etc... It's only globally across just that single bus (that you choose), but on each channel. So with that in mind, when you look at a typical console setup, the channel sends (TYPICALLY) will match, from one channel to the next (not necessarily bus 1 to bus 2, but bus 1 of one channel to bus 1 of the other channels... bus 2 to bus 2 of the other channels). For example, if bus 1 is a monitor send on channel 1, then it'll be a monitor send across the board. And if you're doing monitors from FOH, it'll be at some point "pre-fader". So it makes sense to turn "global" 'on' and then when you set bus 1 to be a pre-fader tap point, it'll set EVERY bus 1 (channel send) on each channel to match and be that same pre-fader tap point. Or maybe you're creating a stream mix on bus 6. One technique is to use POST-Fader for a stream mix so that it'll follow you're channel fader moves (which you don't want happening with monitors... normally). You can set the baseline mix on bus 6 on each channel at whatever makes a good 'normal' balance. Then, when a guitarist takes a lead, or your lead singer switches to another performer, when you bring the fader up it will also bring that post fader channel send up. So, again, knowing that you want every bus 6 (channel send 6) to be Post Fader, it makes more sense to do that globally. Change one channel, and ALL channels now have a Post-Fader bus 6. Same is true for subgroups... Let's say you want to make bus 5 a vocal subgroup. While, technically, you only HAVE to make bus 5 a subgroup on the vocal channels... If you set it globally so that bus 5 is a subgroup on ALL channels, then it can be overall less confusing and not as prone to accidents. Then you just unassign every channel from the vocal subgroup EXCEPT the vocals (or vice versa). So, MOST of the time IMO, you'll want global. But there's a good reason they give you a channel by channel way to change that. Maybe for some specific reason you want a single channel to not follow the norm. Example: You have tracks on channel 16. You WANT the tracks to fade out in the monitors when you fade the channel fader. That way, the crowd isn't hearing the tracks in the monitors droning on at full volume when you faded them in the house. To allow that not to happen, you set the monitor sends only on channel 16 to be POST fader. Now they'll follow what the channel fader does.

@@AlanHamiltonAudio Thanks for the great explanation. I'm learning (obviously) and it seemed like one of those things where I might know just enough to be dangerous. Frankly, like many things, it will take some time and doing it for it to sink in. Meanwhile I'll keep your explanation handy for when I'm unsure. Thank you very much.

My first thought is something wrong with the cabling/adapters on the aux sends. I don't know if you might see something in this video talking about balanced and unbalanced lines and mixing them that might lead to an answer or not. kzfaq.info/get/bejne/i8-RqNp3qqzJj58.html

Yes, but probably not like you're thinking... But still in a way that will get the job done. Since an aux fed sub will be Post-Fader channel sends, then just dedicate one DCA to EVERY channel. Call that your 'master' DCA. So you still need to first set your aux fed sub bus main and the main L-R to have the proper balance between them. If the system balance/gain staging is 100% dialed in, then that would just be unity for both the sub bus and the main L-R. But reality might rear its head and the ideal be something other than matching unity for the two outputs. Whatever it is, get that set, then assign the channels to you "Master" DCA. Or alternatively, you can assign all the channels to the DCA from the start and just put the DCA at unity as your first step. Then dial in your final balance... leaving the sub main and L-R main faders set at whatever you determine that is. Then leave those alone from that point and use that 'master' DCA for your single fader master volume control. Since the channel sub aux/sends are post fader, the DCA will be controlling those at the channel level. And that's what you want anyway.

@@AlanHamiltonAudio Thanks. That’s what I’ll do. You’re the Man Alan

It's unpowered. It's a midas M32.

If you need a cheaper option look into the Behringer XR18 with a controller.....certainly not as good as the M32, but I believe it has the same mic preamps and can definitely do most of the same stuff when pair with a controller and/or a laptop.

Definitely can record individual tracks. It's 18x18. So you can record 18 tracks from the XR18. You can choose whether to send the inputs directly to the DAW, or you can sub-mix some things into subgroups and send a combination of subgroups and individual channels into the DAW. If you did happen to want to record just a stereo mix, you'd just go into the USB routing and assign the main L-R outputs to also feed a couple of USB outs... like USB 1 and USB 2 (for example). Essentially, you have 18 USB outputs you can assign in the routing to come from channels or buses. This is an older video I have on the channel, but it explains how to connect Reaper to the XR18/MR18 and record individual tracks. Any DAW will be essentially the same: kzfaq.info/get/bejne/rr-dfaqq19W6lWQ.html

@@AlanHamiltonAudio Thanks a lot! Very helpful :)

Probably for stereo left and right running stereo pedals or something

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.

Me just noticing this video is 3 years old. lol. *facepalm*

LOL! Better late than never... ;)