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I always like to hear how James is doing things. He's knows his stuff !

16:35 it was Alexa. Lol

3:38 Correction, Gracie’s dolby tracks are out now on Apple, Tidal and Amazon Music now.

Such a good episode!! James is a genius!

Do you have a recommendation for a small church with a very small budget?

😂💀

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

Here you go it starts at 6:40 thank me later

Turn down the volume. Problem solved.

Isn't there an anti-feedback system that examines incoming signal spectrum and automatically notches out the feedback signal?

Lots of good here. I've always valued having eyes and ears on our services by a high performance team of Music Director, Choir Director, Band or instrument leader, and Audio Ministry team. This doesn't always mean an advanced degreed person or persons. But it does mean that the team is competent and always pursuing a truer and better mix. All have a say, and debrief and then carry forward any lessons learned. Good audio techs will double down on the appropriate mix (which you've also addressed). Anyone participating in the worship experience (including the congregation) really should be sensitive to things contributing to worship. That includes attitude (which you've addressed well). What one person likes may not be what another loves. Spiritual maturity needs to prevail. It also includes remaining sensitive to (as you said) how the service changes from moment to moment so that balance of insturment/voices accompaniment/punctuation requires monitoring. In this way warranted adjustments create unified expressions, coherently ebbing and flowing. When one aspect fails to honor the contribution of the other, too loud, or even to soft, slow or other can be the result. I appreciate your observations on how to handle when that 'sometimes' shows up as a complaint when there's nothing the audio team can do.

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

What's your opinion of the Pyle PDMIC78?

What if someone can’t afford to pay $100 for the SM57?

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

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

How about a vocalist that is naturally very nasally ?

Bin sehr zufrieden. Einziger Knackpunkt, sind die Softkeys, die man manuell beschriften muss. Kann sich doch keine merken. Vor allem wenn das Update kommt, das gerade neu bei der dLive Serie herausgekommen ist. Habe den Vorschlag gemacht dass man das über eine. App Oberfläche realisiert. Mit der Controller App kann man das teilweise Umsetzen. Dort sind aber nicht alle Möglichkeiten implementiert. Und da man das Manuell erstellen muss, gehen Änderungen nicht Synchron. Muss alles Manuel gemacht werden. Kennst du die Mixing Station App. Die ist besser als die A&H App. Da kannst du deine Oberflächen frei konfigurieren. Leider sind da auch noch nicht die Softkeys implementiert. Im Update kommen Actions, heißt eine frei Programmierbare Funktion. Zum Beispiel Talkback einzeln oder Band die man auf Softkeys legen kann. Ist Praktisch dann eine Szene die man Punktuell benutzt. Oder Umschaltung Probe, und Live.Hoffe das Update kommt dieses Jahr noch.😊. Gruß aus dem alten Deutschland.

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

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

Awesome!

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

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

Does anyone consider that the music IS TOO Quiet? Turn it down and ask those if they would like it louder. Why are church leaders asked to turn it down? Maybe because it is too loud. Let’s start low and work our way up. Let those who can’t “feel” the music be those asking for more volume. Most CZcams seem to be on the “ it is fine” program. Someone should honestly come out with a CZcams about the music being too quiet. I don’t need to “ feel the music” I need to participate with the music not compete with it

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

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

No amount of complaints work at my church,,i just stay in my car till the preaching starts,,problem solved for me. Ha and i was in a rock band for years

I have an idea. Lower the volume. Problem solved.

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

Our Church sound is over 100 db is this bad ?

This is GREAT stuff!

Great! thank you

the problem is: i like my subs working around 0db. VCA (DCA) was the anwser for me

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

what if the venue is outdoors?

Wondering if you would use DCAs in the same way?

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

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

Is a VCA the same as the sub group?

So couple tips, take em or leave em: -Move your de-esser in front of your compressors. Why would you want to accentuate the parts of the vox you’re trying to reduce, before you try to reduce them? -Drum samples??!! 😬Just to get your kit to sound good? I would be dodging sticks from our drummers if I did that. Use parallel compression on your drums to get them to come through. If you still can’t get the sound ur looking for use torque to tweak the tone then smack attack for the punch. Tweak a reverb (H-verb), dial it in, for the room vibe your looking for. I get it if your looking for a particular sound for a specific song but just for the kit itself? Where’s the concern of morality for an Instrument? God gave us drums too. It’s like using a backing track on your vocal, it’s only 70/30, 😂 I believe in you! You’re better than that, I’m praying for ya.

Great video! Definitely guilty of the drastic eq you were discussing at the end. The channel on our headset mic isn’t even getting into the yellow but still needs those big cuts to keep it tame in the room. Is there a better solution besides just having low gain? Perhaps something at the receiver of the headset?

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

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

Great video

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

Can I ask you : 1. Can Fourier be programmed offline? 2. Can I use 1 Fourier for 3 mixers at the same time? 3. When buying Fourier, is any software included?

more and more of these interviews....👏👏👏

Gene is just the BEST guy! Thanks again for coming on the podcast!

It is worth Allen and heath giving to us for free. D pack free please

I was stunned as to how well the Beta 87a rejected the drums with it being a condenser. I thought that even with it tighter pickup, with it still be a condenser, the drums would have been a mess inside the mic’s pickup; but it wasn’t. Can anyone explain this?? I had always ignored using the 87a on loud stages, with what I just heard; should the 87a be reconsidered in a loud stage?