![OwnTheMix](/img/default-banner.jpg)
- 101
- 2 393 719
OwnTheMix
Registrace 29. 08. 2016
Over 100 videos providing a free live mixing and audio education. Please SUBSCRIBE for future resources!
Working with Drummers
Ashley Appling talks about drummers and audio guys working together to achieve a great sounding performance.
zhlédnutí: 1 738
Video
Auxilary (Aux) Basics
zhlédnutí 3,1KPřed 7 lety
An explanation of Auxilaries, their uses and different types.
Combat Mixing Part 2
zhlédnutí 1,6KPřed 7 lety
In this video Dustin shows you how to build a mix quickly. When time is critical you must be prepared and then move quickly. This video uses the Digidesign Venue.
Jeff Sandstrom Interview Part 3
zhlédnutí 693Před 7 lety
Jeff Sandstrom talks about soundcheck and mixing.
Yamaha M7CL - System and Bus Setup
zhlédnutí 46KPřed 7 lety
This video covers the System Setup and Bus Setup portions of the M7CL menus.
Interview with Chris Briley - Part 5 - Bass Guitar
zhlédnutí 1,7KPřed 7 lety
Chris Briley talks about mixing bass guitar.
Mixing Musically - Dustin
zhlédnutí 1,2KPřed 7 lety
Dustin Whitt, co-founder of OwnTheMix, talks about mixing musically.
David Stagl Interview Part 2
zhlédnutí 287Před 7 lety
David Stagl talks about general mixing techniques.
Jeff Sandstrom Interview Part 2
zhlédnutí 444Před 7 lety
Jeff Sandstrom talks about developing skills and developing relationships.
Vocal Mic Technique
zhlédnutí 2,2KPřed 7 lety
Working with vocalist to get the best sound from the microphone.
How to EQ, Compress and Gate Electric Guitars
zhlédnutí 4,5KPřed 7 lety
How to EQ, Compress and Gate Electric Guitars
How to Set Proper Console Gain Structure
zhlédnutí 4,7KPřed 7 lety
How to Set Proper Console Gain Structure
How to EQ and Compress Acoustic Guitar - Yamaha M7CL
zhlédnutí 20KPřed 7 lety
How to EQ and Compress Acoustic Guitar - Yamaha M7CL
How to Mix Drums - Yamaha M7CL - Part 1
zhlédnutí 74KPřed 7 lety
How to Mix Drums - Yamaha M7CL - Part 1
How to EQ and Compress Drum Overheads - Yamaha M7CL - Part 3
zhlédnutí 11KPřed 7 lety
How to EQ and Compress Drum Overheads - Yamaha M7CL - Part 3
Is that an Allen heath gl 2800?
So basically all frequencys are imortant to vocals and everything really.
He looks like Jacob from trailer park boys
I prefer the sound of the Yamaha and Behringer comps with the knee at its hardest.
you didn't add any make up gain?
finnnalllly, a quick video ,no talking about nothing ,thank you, great vid, helped me a lot
Where's the vocal your playing from?
Naice
I completely lost it when the plant came in to the picture lol
Some really usefull tips here as in your other videos. I guess these settings would work with software effects too like the compressor and effects in Logic 9. I am trying to setup a couple of workstations running Logic 8 and 9 to combine them and my hardware for youtube live broadcasts and hopefully to sound at least ok if it is not possible to make it sound "good". I got a few of my older computers still and I got this idea to use computers and recordingsoftware as mixers more than regular daws to get some kind of semi digital analog environment and to not bog down the computers by doing it all inside just one computer. I am using M-Audio Delta 44 and 1010 pci cards, a Behringer ADA 8 channel preamp, two small mixers and a Blackmagic Design pcie video capturecard to output video and audio to my broadcasts.
Very informative and straight to the point. Thank you!
Sweet!
you explained it in a way that was simple to understand thanks brother
great video ... but I am a little lost ... in terms of which buttons you are using on the mixer and the terms you are mentioning I dont know. .. I wish I did because I am a singer and often experience I am at the mercy of the guy working the mixer. Sometimes I have to have the mic right up close to get any sound ... which means i cant really give to much strength over wise it sounds weird. I really need to learn how to set it so that it picks up my voice exactly as I am singing and doesnt make me sound like im singing in a tunne.
Thanks guys!!
Hey man thanks for all the great vids. I have been running sound for many years and really appreciate all the great information.
Simple, straight to the point... Great tuts !!! Thanks
This plugins are proprieties of the console?
Not necessarily. On this particular console, we've purchased third-party plugin packs. The console has many onboard resources, as well, but one of the most powerful reasons to go with some of these modern digital consoles is being able to load in third-party, studio-quality plugins for the live environment. An example...Waves Audio has great plug-in packs for purchase.
thank you. really interesting video!
Nice! Thants an Allen & Heath GL3300. I use that baby at spot called The Raven in Worcester, MA. Its the house board. Shes a beautiful beast. this one is definitely less dusty though xD
Great work!. How did you get the audio for this video? What did you use to go back and perform these tasks? How did you record it and did you make all the tracks flat? Could you record or send a link to a video on this. thanks in advance.
Hey Ken: We recorded the tracks live in the room during a Sunday band rehearsal. We used Protools to record, which is integrated into our Avid D-Show console.
I know this is only an example but in a practical situation I hope you wouldn't leave your q open that wide
Great video! My Low-Mid starting scoop is usually between 300-400Hz, then smoothing out between, 200-600Hz - a low-mid 'smiley face'. But a modest scoop (6dB max in the centre). And HPF - yes! Nothing useful below 100Hz (it's a roll-off, just in case someone thinks you are cutting, just rolling off). Cheers!
How are you getting the M7 to have playback?
We rigged it up for this video. We used a Protools interface with eight outputs, and ran the individual tracks into the inputs of the console, simulating a live band. For example, for drums, we ran the recorded kick channel output into the first channel of the console...and so on for each instrument.
Hello the videos are very good and I state videos like these you can do more like piano keyboard tubal accordions thanks
Hello the videos are very good and I state videos like these you can do more like piano keyboard tubal accordions thanks
Do you compress background vocals?
As always, it depends. One of the downsides of compressing anything is that the noisefloor (background noise outside of the closely-mic'd source) volume is increased while the closely-mic'd source's volume is decreased (at least the peak volume moments). In most stage layouts, the background vocalists appear near the drummer, whose loud drums and cymbals tend to overtake the microphones of the background vocalists. Therefore, when you compress the vocalists, the drum volume (and usually the cymbal volume most) increases. So...you can compress them, but generally, it causes more problems than it's worth.
Could you show us how to connect a tap tempo for the effects?
What is virtual sound check?
Virtual Soundcheck is Avid's name for the ability to multitrack each instrument in ProTools while the band is rehearsing...and then be able to listen back to those recorded tracks later (after the band leaves) as if the band was still playing. It's like getting a limitless soundcheck. It's one of the most game-changing solutions offered to a modern FOH engineer.
I hear a small amount of ring in the snare at the end of the resonance, should I try to get rid of that?
That's all personal preference. Some people love the ring, other people hate the ring. It all depends on how annoying it is...at least from my view. You can usually find it between 100Hz-300Hz...and can cut with a narrow band to limit it. When you get your EQ set to that 100-300 range, you can boost the EQ temporarily to find the exact tone of the ring. Once you find it, cut it to whatever degree you want.
How are you using the recording of the band? Could you show us how your doing that? Just wondering if your doing it like this just for the video. How would you eq a live drummer? Is it better this way? Is it better if we use this tempo? Thanks
When we recorded this video, we were using live multi-tracks that we captured on a Sunday morning. We patched each channel into the back on the M7CL inputs as if each channel were coming in live. (Those were not studio tracks, but actual live drum tracks.) The only difference between that staged environment and the live environment (for practical purposes) is that in most churches, the acoustic sounds of the drums will be leaking into the room along with the mic'd sounds of the drums. So...the principles we use apply, but in a live room with live drums, more volume and low-mid energy will be coming off the stage. In addition, chances are that the snare and cymbals would be bleeding into the vocal mics. So...there are certainly some differences, but the principles of what to listen for remain the same.
Great info. My pastor uses a countryman cheek mic and she loves to try to talk over the band when she first comes in, then she asks the band and praise team of 9 to sing a few more verses. The countryman can not compete with the band, I hate to turn them down at this point because of the current mood of the service. I bring her up over the band and this is where the pain starts. I'll get this airy ring from her mic because she's over the high level now. Any suggestions ? If she comes in on a slow/soft song is perfect. But high energy, wow. Thanks in advance.
Ken: this is a common problem. I'd recommend having her use a handheld microphone in these moments. (We've done that before in our room.) It may seem funny, but that's the only practical way to get her volume over a band at reasonably high volumes. To keep it simple, handheld microphones, and their typical focused patterns, have much more headroom (gain before feedback). So, you can push the volume much louder before hearing the feedback (ring). Try that! She can transition to her countryman once the band is done. (And, I'll admit, the way her voice will sound will be different between the two mics.)
Could you share a video more about both dynamics, gate, ducking, compression and expanders. Thanks
Why would I use fade time between scenes?
Fade time is important for automating SMOOTH transitions. I can think of almost nothing worse than sudden changes in volume between elements. That slow fade will cause the changes between band and video, speaking and music, or any other drastic change in volume almost subliminally smooth. On digital consoles, I like using a 4-5 second crossfade for most things. Consider a moment at the end of a worship song, when the pastor may come out and speak...but you only want keys playing. You have a challenge because the guitars, drums, bass, BGVs and whatever else are still up in your mix. You may opt to create a scene where everything is removed from the PA except keys and your mainstage communicator. But, what if the band is still noodling softly, or what if they played a big note and are holding it? A sudden change of volume will be jolting to the audience, so a longer crossfade will create a gradual decrescendo of the instruments you don't need in the next scene. Much better than quickly hitting the mute buttons on everything, or having to quickly, but smoothly, pull down the faders on individual instruments, VCA groups, or whatever else. I over-explained that, but wanted to be clear.
Great eq tutorial. Would you use this for your final eq for that singers next live performance? Could you talk about the following buttons ' type 1&2, and the other buttons alongside the "flat" selection. Thank you, thank you, thank you.
With digital consoles, saving settings has never been easier. So, there is absolutely nothing wrong with saving your EQ settings for singers who are there every week...AS LONG...as you don't tune out and stop listening with critical ears. Changing microphones, a singer having a cold, or a myriad of other reasons can change the tone of her voice. So, keep listening in spite of saved settings. There is a lot of speculation between the differences of Type 1 and Type 2. I believe the console defaults to Type 1. This may sound snobby, but I always preferred the subtle softness of the Type 2 EQ. If my memory serves me correctly, the waveforms were smoother (rounder) on Type 2, which might explain why Type felt more musical to me. Here's a better explanation from a forum: "Yamaha digital consoles (except PM1D) have a choice of EQ Types. They are just different ways of doing the maths that results in EQ. We recommend Type II as being more "musical" or "analogish" and in almost every case it is agreed it sounds better. So why have type I? Well Type II does exhibit some unexpected EQ responses when used for several very strong negative EQs, the type of multiple notch filtering used by monitor engineers or for bad problem solving. Type I is always predictable, but practicably not as nice!! So the choice is left to the user." -Tree Tordoff www.blue-room.org.uk/lofiversion/index.php/t10831.htm l I've been using Type II exclusively since an initial 2 minute headphone test years ago, but after reading that Type I is more predictable, especially in regards to cuts, I'm wondering if maybe I should start using that for speaker EQ. Looking at a transfer function, do you think you would get a smoother or more predictable response by using Type I since you had to worry less about close band interaction? I'm thinking Type I for the science/calibration side of the equation and Type II for the art/voodoo side. Does that make sense?"
Thanks so much for this, I have been looking for how2s for the M7 for years. If you create a online course for this I would pay to attend!
Thanks, Ken. Keep searching for content. It's one of the most common consoles on the planet.
Yea Chris!!! And now he works at Preston Trail Community Church, in Texas.
Excellent... Finally great explanation. Reading the manual always put me to sleep.
Please do a video on how you have your auxes, groups, matrixes, VCA's set up.
What's the best way to save and transfer to a thumb drive? Do you save everything together or separate?
How do you set up your left, right, center using mono matrixes? Avid's video on this is sketchy.
How do you easily add an input to an existing show file in an efficient manner? (Let's say on your normal file you only had one kick channel but wanted to add kick 2 as the next channel (currently snare).
Tune each drum for what its mic hears, not what your ears hear.
If you're lucky enough to have analysis software in the room, one of the coolest tricks is to bypass the EQ on the tom channel (so the console is making no adjustments to the frequency range). Now, boost the volume so the analysis reference mic gets a good listen to what the mic is amplifying in the room. Check the frequencies in the software...and find the center of the waveform of the loudest frequency (depending on the tom, it'll be between 130 HZ down to 70-80 HZ). Now, reapply the EQ and boost slightly at the frequency that you wrote down for being the main frequency of the tom. This changes are soon as retuning occurs, humidity increases/decreases, and the head stretches. So, this is something that needs to be done relatively often for best results.