Behringer X32 Training at Harvest OPC

[Music] behringer x32 digital console 40 input 16 outputs fully automated so every fader is automated controlled so when you change they move for you so it makes it easier we'll go through the input side of it first like we did last time and then we'll go to the output side so the fundamentals the basics of this mixer is we'll go kind of channel by channel when you hit select on a channel on an input over here I was clipping and turned myself down too to help you out when you hit select on a channel then everything that is on the top section here becomes active for that channel so all of these controls are active for dáil which I am Dale right now I don't know who Dale is but I will be Dale as well as whatever you see on the screen is active for that channel as well so right now we're looking at channel 1 if I hit channel 7 then all of this is for channel 7 for 15 so on so on so we'll go through the basics of what is up here the first and most important section that you'll have will be your input gain which would be right at the top here the input gain you want to set before you do anything else which we talked about a minute ago you want to get your average input gain in the negative 9 to negative 6 range comfortably if you have somebody that has a really wide range of talking then maybe set them a little bit lower because when they start talking loud then you start clipping like I'm doing right now so you do have to take that into consideration and you'll know that by who your speaker is but on average you want to be in the negative 6 to the negative 9 range that gives you enough clean good audio coming in that you don't have to really crank anything later on you can just run everything normal without having to dime something if you have it set too high where you're clipping the red light is on then every audio after that is going to have some sort of static distortion in it and that doesn't sound very good as you would have heard from the first minute of the recording so that is the first and most important thing that you want to set on any input when someone walks up you want to get that input gain set and then go from there also on this first module here we have 48 volts so any condenser microphone that you run which we have a couple the two that are in the piano require that you're hanging choir mics require it so when you have something that requires phantom power you would just hit 48 volts that would turn that on I'm not going to do it because it's a wireless we don't need that but you would turn that on at that point and it'll remember that for example if we have it turned on for the piano mics so first major section once you're on a channel set the input gain if you you've if you need a fan of power you technically would set that first and then do that input gain which you would quickly figure out if you needed phantom power because you won't be getting any input so that's the first section here right next door to it they have what's called a low-cut or more commonly known as a high-pass filter so what this allows you to do is you can essentially cut a section of frequencies specifically on the low end I use this as an anti feedback tool as well as a way to just kind of clean up a mix I usually set for like vocals I set it around maybe a hundred Hertz same with acoustic guitars that type of deal pianos maybe in the 80 to 90 range nobody sings down there that's almost the only thing that operates on that frequency band would be bass guitar kick drum if you mic up a Cajon that'll be in that range like CD player iPod that type of deal anything that is a seriously low frequency would be the only thing in that range so you can to turn it on you would just hit the button when it's yellow that means it's active so and you can see get on the screen here where you are affecting it so it'll tell you both on the dial I'm around like 120 or it'll tell you on the screen 104 Hertz right now and I guess I can't dial in a hundred specifically so 101 is what we get but that would be the next thing that I would say I automatically set that on all my vocals all my instruments just they're not going to operate in that range so I'm just going to eliminate those frequencies just so it's not bleeding through and make a noise so that's the first module that you get up there those are the first couple things that you want to set the next module down here would be all of your dynamics so they give you a built-in noise gate on every channel as well as a built-in compressor on every channel if you notice the little button that says view they have that next to each module that'll take the screen to whatever you are working on right then so noise gate what that does you can set it at a minimum decibel level minimum volume level where whatever audio is coming in it will not go through until it reaches that volume level so for example not the best application but if you had a drum set and you had a snare drum microphone all you want that microphone to pick up is the snare drum when you have that crack sound you don't want it to pick up a hi-hat or anything else around it so if you set that gate up to a certain point then it's not going to pick up all the other sounds around only when that loud snare drum crack hits same thing if you have just a couple live microphones nobody's using them at the moment so you don't want them just picking up the air noise or whatever else going on in the room you can set a gate so they're not going to pick up anything until someone actually comes over and hits that minimum decibel level so a gate can be a tool or a curse depending on how you set it if you set it too high someone's going to walk up and they're still talking and you just don't even hear them so you want to make sure that you get it set to the right spot they do give you the blue moving point here is the audio coming in on the microphone so you can see it since I'm not worried about that I just stop talking to show the light when I'm not talking the blue lights it's way down here past my minimum point so that doesn't it's not allowing anything to go through when I'm not talking the red is it's eliminating other audio essentially so when it doesn't have any audio then it just kind of shuts itself down from all the way so if I set that gate too high like my average audio is on the top end here if I set that gate too high which you'll hear on the recording in a second suddenly you're not hearing me come through anymore so that's that'll be funny in the recording so if you set that too high then you're going to either not hear anything or every other word is going to start jotting into now I should probably do that on a different channel instead of the ones trying to hear me but uh so you want to a gate is a good idea just to eliminate first of all feedback if you have a mic sitting there and there's a monitor sitting there and someone you have the mm-hmm that's a good way to eliminate that so it's not picking it up as well as just crosstalk between other things that are going on just a great tool to be able to use so input gain low cut noise gates was the first major things you want to set up the next module over would be a compressor so I still don't have a great definition of a compressor but essentially what it does it takes your lowest point of your audio and your highest point and it makes everything sit in this range so you can't get louder than this point and you can't get quieter just brings everything into this range so it can really increase the overall tone and effect of what your vocals and instruments can sound like if you set it right also if you set it wrong then it can really squash and kind of harsh in everything so less is definitely more on that but same concept it's a compressor and expander I guess so it would bring that be the compress so you're compressing it down and then otherwise expander is bringing the floor up so enough to bring in whatever your Quietus point is and bring it up to at least to this minimum that'd be your threshold would be the control on that it's probably picking you up except for my noise gate that I turned on so I turn the noise gate down so you guys can be heard through there too oh so yeah with the compressor they do give you a lot of additional controls on here which you can control using the knobs on there otherwise just a general you can see when you starting to actually compress based on so I'm essentially setting where the top end of my audio would be right now so it's essentially eliminating some of the peaks at the top which isn't much if I start moving it down here you're going to start squashing quite a bit you're it's not going to sound as good sorry recording people but essentially you can get it right around in there and it's going to just kind of smooth out that signal especially if you have somebody that has a very broad range of where they sing then a compressor is a good tool we had a worship leader that he had the loudest voice when he went into his upper register so the first Sunday that we had the board we had that compressor set up and there was like the point in the song where you know he's going to do in the octave jump and he did it and then we're like oh it did it and it was it was great it held him in check and it was terrific so very good tool there that you can use as well as long as you're within the boundaries of not cutting too much then it's going to mess it up yes yep yep that helps keep them in that audible range yep yep moderation on everything with compressor with effects if you add effects on of things moderation less is more so next section over would be the equalizer which looks very different than any other equalizer from the previous mixture before you just had bass mid I think a sweepable midrange and then high mid and treble high okay three band will sweep on mid that's right I used to have the 32 channel before we want this one so this essentially operates the same except for when you moved low on that you were just controlling I think 80 Hertz now when you move low on this you can select what frequency you want that to be you can move it anywhere you want it to be so essentially it's a 4-band parametric EQ you can access each band by hitting low low mid high mid high and those correspond with a number on here so one being the low and this will probably sound funny on the recording as well maybe I can just use a different channel to control that and probably be a better idea to provide for my demo well I just have I don't need to initially have audio but so your three main controls that you have would be gain which you can see will either increase or will decrease I guess you can't see that too well on the screen but you can increase how much of that frequency you want or decrease cuts you can also if you go to frequency you can change which frequency you want to affect and then your cue is how narrow or broad of a range you want that to affect so with the EQ more commonly you would do cuts rather than add so if you're listening to something the best way to go about it is to like you hear a frequency and you're like you know it was some better if this was kind of gone the best way to do it is to do a big peak like this and just start going along until you hear it you're like until it sounds the worst essentially and you hear that frequency then you know you found it then do a cut on that frequency that's the best way to go through and find those is to really find the worst frequency and it will be very obvious and then please do it during practice my sound guy has somehow perfected being able to do that mid sermon and only have me notice and nobody else I don't know how he does that he has a magic ear but a suddenly I'll hear something move and I'll look at him he'll smile and nobody else notices but general rule of thumb I would do it during practice soundcheck only unless it is just crucial that something has to change then Tastefully go for it but typically you want to go through find those bad spots or if you have a frequency especially on like a pulpit mic or a live mic that is constantly feeding back something like a mic has a tendency to feedback then you can do essentially what's called wringing it out where you'll you'll find that frequency and it'll it'll go right away and then you can notch that one out of there and that should take care of a lot of your feedback problems which we have I think for frequencies notched on our pulpit mic because that thing just wants to go so yeah with any mic that gets passed around or if you doesn't look like you guys have one at the pulpit which is good that helps I would go through in a setting like this when nobody's in here because it's kind of loud annoying but I would wring that out and finds what frequency that is and just take care of those problem ones up front that makes it a lot easier on the back end what you can do there's a couple ways you can bring the mic out and what I would do for that turn off the noise gate crank up the gain set the mic in the middle of the room and just turn up the volume till you start to get that and find what frequencies it wants to go with and then notch those and that gives you a good starting point is that much different so some other options that you have on your EQ is the type of type of Arc you want to use so right now we have it on peq which is most commonly what you're going to use where you can select a specific frequency if you are on the high end you have the option for what they call a high shelf which you can see how it takes this whole area and brings it up instead of a set curve it takes a whole it as a shelf up there you can do a high shelf or you can do a high cut similar to what we did on the low side you can do a high cut it depends on the application I have a high cut on something at church and natl remember I think it's I think we have it on our piano just because we're getting some shrilly noise and our sustain pedal squeaks a little bit so I just I kind of rounded it off to eliminate some of that so I'm it's focused hey it happens so you do have those options and that's just by hitting mode here you can you can either run it as a normal curve like that or you can bring it up as a shelf where at boost and area or it cuts where it's just going to eliminate everything at that point well you you can put what you can put any frequency anywhere technically but most commonly they call it a high cut or high shelf but you do have the same option for on the low end low cut or low shelf which we already set up a low cut in the initial section a lot of that is just doing your set up initially ahead of time doing your homework knowing what is going to happen ringing out having everything kind of EQ before a service because the more you do on-the-fly the more noticeable your problems are going to be and then that's when people get upset so the goal of right the goal of the sound guy is to be invisible they want to come in you want them to be able to come into the sir service and not notice anything about you that means that it was a good morning because everything just right somebody get that guy a chair how I'm going to sit down somewhere tell them why they stand in there so that would be that is the basic concept of the EQ so you have four bands that you can move around you can increase or decrease those frequencies you can do a shelf or you can cut something and like I said goal of an EQ isn't necessarily boosts or add a bunch of areas the signal coming in should sound good microphones are good you want to represent that audio well so the goal is to eliminate things that don't sound good more than boost when you start boosting things then typically you're going to run into other things not sounding it's good because of it so cuts are better than boosts good on EQ and a good thing and those we've we've been doing this with our sound guys is do some kind of ear training and some reading understanding because when I say the word frequencies to most sound guys that haven't been using like a intense EQ like that they're like what's a frequency like I don't understand so to really understand what lines up in different frequency ranges to get that in your head really makes everything a lot easier so if you understand that an acoustic guitar kind of sits between two hundreds of two hundred megahertz and like 3k and then the vocal sits in this area and this sits there it really helps out that way you can narrow down what you're looking at you can Google and YouTube all day and find a million results that all line up I don't have a good resource I just googled and I found a lot of stuff really quick there's also apps out there and one of my guys at church has this and I think I sent it to you I remember sending it where it's an ear training where I think it rings a frequency and then I think it shows you and so you can really develop your ear so you know what you're listening to in different ranges so that's a great tool too it's really annoying because you're just hearing but it's a very good tool to get that knowledge because then when you get into a service and you hear something feeding back whoo it's like oh that's that's 500 mega or if I've been hurt so that is that's most of this top section so when you hit select all of this comes active for that channel input gain gates compressor EQ the next module over you have your sends and this is one of two ways to do your bus sends I never use this part of it but I'll show you it's essentially like turning up on the old mixer ox1 aux to aux 3 that's what this is so you have this is going to your sends that we have over here which like your foyer your nursery your video left and right monitors that type of deal so right now run 1 through 4 so it's 1 2 3 4 when you go Next button 5 6 7 8 9 10 11 12 so and so on so you can go by channel and I need to send Jeff to they need to hear them in the foyer then I can turn them up going to the foyer so on so on or if we're going to the video then we can turn me up in the oh that's Jeff though turn them up in the video so you can that's kind of one way that you can do it that's the the older way we'll look at outputs in a minute and I'll show you a much easier way that you can get through things there so that's the basics on the input side you have four buttons on this side this controls what layer you're on so we have 32 microphone inputs so 1 through 16 are laid out here 17 through 32 are here and then the third layer has our our music coming in so like we have an iPod input the Mac left and right is coming in there or Mac left and left right now and then CD left and left how did I do that so CD player input would be there as well that's all on your third layer under the auxiliary ends and then you have a an effect return volume there leave them at zero and I'll show you the other volumes on the other side and then if you ever needed to you do have a bus master as well so your 16 outputs on the fourth layer here you can control them here or you can control them on this side which is fun to watch and because it's the same thing so if you really want to play with someone's mind you can do that but that would be the main options of the left side the input side there the one side on the right side of the board these would be all of your outputs so we'll start in the middle of this section with since we're just talking about at your bus ends so on other boards that are considered ox ox ends or monitor sends they're going to be labeled behringer labels on mix bus or bus sends so essentially we have 16 designated outputs that we can control individually we can send whatever we want to everyone and we're using them to send to the foyer to the nursery that way lucky guess have a left and right video feed as well as we have four monitored channels that we are using right there as well so we have 16 senso bus 1 through 8 right here and then 9 through 16 technically the last four but can be changed of the bus sends are being used for effect volumes we have four main effects that we can utilize for reverbs or delays or anything that we want to use which we will get there in a minute so for our mix bus sends there's two like I said a min ago there's two ways that you can send audio to a mix bus you can do it per channel by hitting that channel and turning up whichever one it is the other wave is my recommended and preferred way if you hit select on a mix bus then now we are mixing for that mix bus and then there is this little pivotal button here called sin on fader and it blinks red when it's active for a reason so when that is blinking and that is says select everything that I do over here now is mixing to go to that mix bus so if it's not blinking I'm mixing to the main output the left and right like normal so what I hear out here when I hit sends on fader everything that I move here now is changing what we hear in the foyer or if I go to nursery then everything I hear in the nursery or video then everything I hear in the video so sends on fader is the make or break button of the mixer because if you don't remember that you are on sends on fader then you are messing up a mix somewhere so say you walk up and somebody had it on Suns on fader and you're listening to the room and you're trying to turn down or turn up Dale then you're turning up turning up and you're not hearing any difference meanwhile he's screaming out in the foyer or in the recording you want to make sure that you know when sends on fader is on because otherwise you're just going to make a big ol mess so we'll go back and do that again I want to change what I am hearing in the nursery so I hit select I hit son's on fader and now everything over here is being consent to nursery anything I do here is going to be heard differently now going to the nursery so that would be how if I put in a pair of headphones and I want to mix what's going to the video I can hit solo bring up my headphones and I can listen what's going to the video and mix what's going to the video feed or mix what's going to the nursery feed so it allows you to do that and actually have a visible representation of what you're doing instead of going per channel 2 to 2 it makes it a lot easier that is one of the biggest advantages of going with the digital board is being able to mix that way instead of individual knobs here they're so like I said you have 16 mixbus ends that you can use sonson fader is the best way to be able to send to those any questions there so same rules apply just like when we're on a channel over here and we went to the EQ same rules apply over here if you hit select on a channel then you can view the EQ you can compress the outputs you can do those same things so I have on the output so they give you six bands instead of four bands like the inputs so I can EQ our monitor sends I can EQ the video said if I want to all the same rules apply to get to the sixth of the fifth and sixth bands because you only have four buttons if you just hit the two at the same time that gives you one one of them and then hit the two at the same time to get to your other C of six bands available to be able to cut boost anything like that fairly flat responsive kinda applies right mm-hmm right so if you're playing with the EQ on the foyer then most likely you're going to want to be out there we're listening probably using the tablet to do it and mixing it from there same with the nursery or the video you can do through headphones on that end monitor you can do up on stage you can EQ it just like you do your main speakers so yeah mix-ups cool the next section over then or the next button up would be it says a group which DCA one through eight so DCA would be digitally controlled audio so essentially what they give you they give you eight channels and you can use them as a master volume for anything individually or group on this side so for example the best one of the main ways that I would utilize it we have for choir Mike's coming in here which I see yeah there's four I just now notice the far right when it blends in really well so we have four choir Mike's coming in and say I have those balanced out based on the group that's up there but they are just too loud I don't want to have to try and keep the balance between that group equal moving them up and down I just want to master volume for them that's what the D CAS are there for so what I can do I hold down select and then anything that I want to be controlled by that I select and let up so now when I turn up or down this DCA it is a master volume for this group of channels because I've assigned them to that so I can increase the choir or bring down the choir or for example you have we have two piano mics on here one for the high or the treble side one to the bass side once we get that balanced out the way we like it between the two mics I don't want to have to mess with that balance so I can assign them to a DCA and now I always just have a piano volume right here so that makes it easy I use mine at church in the aspect where I like to be able to just stay on my first layer and mix I don't want to have to switch layers a lot so anything that's on my second layer are my kind of bulk thing so I have four drum mics I have my piano left and right I my keyboard left and right and then I just utilize the dca for those so I can say on my initial layer and then I just have my drums my grand piano and my keyboard so that way I can mix everything right in front of me instead of having go through layers so like I said very easy to set up you just hold select and then select whatever you want to be on that and then when I turn it up or down then it'll be very apparent being done digitally yep it's not going to move those essentially those are going to this at unity and then you can increase or decrease from there take those off of there but you have eight of them available so I even have one assigned for my CD player and my DVD player coming in because I don't even have to go to my third layer at that point you can use them for anything you want there so let's continue on so that was all of our input side of things that covers all of our outputs most of our outputs the next one over would be our main output which is what we hear in the room so you have a fader you have a mute button if you want to mute the overall output to it if you hit select once again you do have a six band EQ you have a compressor if you want to EQ the room although you guys have processing that probably already takes care of that so you shouldn't need that but that's all of the outputs aspect of it so another module that we can tackle here minutes would be the mute groups down here which is a great tool I have I think three or four mute groups assigned on our board depending on what we need to mute at the time but it allows you to do a mass mute instead of having to go and turn everyone off which is highly annoying right it doesn't work what allows me to do I can hit one button and it'll mute everything that I've assigned it to mute so up at the top you have buttons second from the bottom here called mute group hit it it lights up hold down mute group and whatever you want this mute to mute then it will do so say I want to do all of my instruments drum guitar guitar violin by land base assign them hit mute group again so you're not in that menu anymore now when I do it it mutes all of those at the same time which makes it much easier on life I could do another mute group I could do all of my vocalists together so now I can not Madeira thank you gotta hit select so now I can do my vocalist on one my instruments on one I can put both of my I assume they're both pastors because they have this individual names you could do I shouldn't do those because then I can't talk but uh you can assign them to whatever you want if and you can do them by scene so they'll change if you for the week with the horns we could the strings you can do individual mute groups it'll remember them on the scene when you save it so you guys do we just memorize it I just know what they are the main one that we use is to that mutes every mic and instrument on the stage other than look at su home at the top that takes you to the home screen for whatever channel you have selected so you can see some of the basics of everything that's going on so if you have it assigned to a mute group it'll light up what mute group that channels on what if you have it designed to a DCA it'll show you what DCA's it is controlled by there if you have a compressor or a gate or an EQ turn on they light up yellow down there so you know what it's going to if it's going to that channel is going to a bus sends and of your outputs it shows you how much so we have this going to the nursery right now it'll show you all that on your home screen you have page select down here when you hit those it tabs through the different tabs at the top so you can go to configure which you won't have to do too much to which I'll show you an option there in two minutes you can see the options for your gates your compressor your EQ and then all of the sends that you are going to as well an option in here for configure and you guys would talk about being able to jump around channels strong from different inputs all of that that is done under the configure tab so if you go to a channel under the configure it says source so that is telling you where that channel is getting its audio from so right now it is getting it from input five so which makes sense we're plugged in channel five but say I want to draw we have a mic coming in to whatever up there and it's plugged into input 15 on the back of the board I can go here I can scroll down to 15 hit select and now I am drawing that audio from input 15 on here okay so that's done under the configure tab on each channel you can select where you're drawing audio from I'll put that back so we don't mess everything up so if it says in and then the number that mean that it's local that's coming straight into the board once we get the snake hooked up it'll say a and then the number because that would be a es 50 a which is the cat five input or output so that'll be one thing you'll have to distinguish later once we get that hooked up if it's plugged in local or through the snake but for now it just says in which means the board and then what channel it's coming in so I can go to any channel out of my 32 and draw audio from any channel out of my 32 and put them in it's okay we can meet them so that's a good tool you shouldn't have to if you want to plug in the back we shouldn't have right you shouldn't have to do anything back there but also once we get it everything wired up with the snake correctly up there you shouldn't have to do any of this because then we'll have a dedicated guitar channel designated by Lin channel routed through so that you shouldn't have to do much moving at all there it should just be set ready to go so home screen tab over to configure and then select your source you can thumb through it won't activate until you hit select so that's done there so going back up here that was under home that'll take us to that channel if you hit meters what this does this shows me all 32 inputs and what audio is going through them and how much so if you have something that's feeding back somewhere and you have no idea what or where just go here because it'll be red it'll be nice and bright red at the top it also shows you what channels are being affected by a gates the fader will be lit up red here if you have it muted which you can see they'll light up red they're also the bottom shows you how much a compressor is working down there shows you how much is being activated there which we can so is it working check check check check check check check maybe it's not check check check check check I want to play with compressor too much but that'll show that down there as well for the gain reduction so that's under meters you can also see all of your outputs you can see the meters for your auxiliaries which would be your CD player and all that so you can tab through there under meters and be able to I like to just leave that up as just a just in case I need it type of deal and then once I need to EQ something then I'll just hit V U and it'll jump me over to whatever I need to see but that's where I usually just generally leave it just as a good tool next tab down will be routing you shouldn't have to do much of anything in here the only time will do anything in here is when we add the snake then we'll change how some things are routed right now everything's routed to assign channels all 32 on here to all 32 on here once we hook up the snake then it will take 16 from there and put it here as well as 16 from here and put it here so routing general with them don't touch because then I have to come visit next one next one down would be set up these are a lot of your general options for the board so you can change the date and time you can change the brightness and contrast of your herbal strips as well as your main screen that's all in here configure a lot of like to control just a lot of different options are in here your pop ups and some mutes and different things like that shouldn't have to do much your network IP address we went over that but that's all under there scribble strip is the main thing that you use under setup if you're at the board that's how you real able each one of these guys name color picture that type of deal so you would go to setup scribble strip you can select whatever color you want you can select a picture you can use one of their names or you can hit edit and type in your own name it is easier to type them on the app because you actually get a keyboard but you can do it on here so that's under scribble strip you can change the name picture everything of all of your inputs all of your outputs your effects everything you can it's all customizable so that's all under the setup tab the next one down we'll talk about saving things a minute now this is the library so what the library allows you to do I can save individual presets up to a hundred of them so that would be for example we have Dale's Mike right now once we get Dale in here we set his input gain we get a meet-cute we get some compression on it it sounds great we will take this channel then and we'll go up here and we'll hit save presets and we will type in Dale instead a build one for you yeah otherwise he would get abbreviated so we hit save I labeled him Dale I'm hit save and over a preset yes so now I have Dale saved in the library so on any one of my channels I can hit will go to a bogus channel I can hit select and then load presets I can bring Dale and his input gain his EQ his effects everything and I can assign them to any channel I want so loaded preset yes now you can see not on the screen anymore but you can see Dale ended up on channel 24 because that's where I wanted them to go so it'll remember his EQ everything so if for example if you have six vocalists but you only have three at a time you can save individual presets for each one you don't know who's going to be there that week so suddenly Cheryl walks in and you're like oh well just grab the red mic and then go to or grab this mic vocal 2 in channel 8 and you can just go to that channel go to your library grab Cheryl's preset throw it in now you don't have to start over and eq or it's you've already done your homework so it gives you a lot more consistency you can so it gives you a lot more consistency week by week especially if you have multiple teams multiple musicians multiple vocalists you can just automatically save those people those characteristics and load them in and it makes it a lot easier so with the library like I said you can save up to I guess it's tech they give you a ton of preset ones in there I've never used any of them I just went through and started renaming them and took up that spot all those spaces for my things I have I think 40 or 50 whatever things saved in there between instruments and individual vocalists so to do that again like I said you would just go to that channel get everything set the way you want it and then the button down here would be save you can name it whatever you want hit save and yes so now everything that I've done for Dale's voice is input gain compressor gates EQ all that is assigned to Dale right here so then I can go through and set up Jeff and save Jeff as number two or save Cheryl or whoever whatever you want to do and save it in there and then to recall it you would just go to whatever channel you're on hit load preset yes so I want to put Dale here so I put sale there you can move them anywhere you want them so that makes sense cool so that's the library library allows you to do individual channels saving on a more global math approach the module over here says scenes so if I hit view on this that's fine it's right there so you can you can do scene so what a scene remembers is everything so it'll remember any of any individual presets that you assign to it so Jeff's vocal this that I see you're working on things on see scribble scripts are all different it'll remember every individual preset you put in there it'll remember every level of your inputs your outputs your effects everything it will remember on a global scale you can save up to a hundred scenes on there I have a basic one called harvest main that I just put in there while I was making everything so you can go to harvest main and hit save name it whatever you want you can add some notes if you want and save it so now harvest main looks like that so then if I let's make a we'll make another one that looks just a little bit different for a good example to move much things we'll save and we'll make this one harvest main one save so now we have harvest main one and harvest main so if I want to change back to the other show then it goes back to everything that I had from before so you could label them I don't know what type of mix is used but you could have one labelled string Sunday hip-hop Sunday anybody accordion Sunday you can have them labeled that way and that way when you walk in you know that these vocalists are can be there these instruments are going to be there what inputs that are coming in every the mix between them you wanted it's all going to be there so we run a couple of different vocal teams we have two vocal teams and two leaders so I have forseen saved based on those combinations so that brings up all of those people's presets on a scene so you can go to view and then thumb through them that way or you can use them right in a row you can change mid service without really affecting or changing the world so like we had a big Christmas service where we had like four different special numbers and they were all using the same mics but everything was completely different between them so I saved four or five scenes for one Sunday night and we'd get done with our special number I would just hit next go and then it would go except for I can turn off the pop-up so it automatically goes but you'd get done and you would hit next or previous and it says at the top of the screen which one you're going to go to it says the name up there so you can see what scene you're going to which I need to turn off the top up but it'll allow you to do that so the scenes are just an incredible way to have a lot more consistency between different weeks so that way you can remember or it remembers everybody's individual presets and the volumes that you had between the bands or the instruments so it just makes it a lot nicer there yes right you do rehearsal on Wednesday afternoon and then there was an event on Friday and they moved everything so then you can just come in Sunday morning and recall what you had saved yes or a youth concerts youth you're so loud so it just allows you to be able to do that and get a lot more consistencies and cut to your work level down because instead of having to walk in okay let's set input gain again EQ again it's like now you already you already did it recall it's already there so scenes are a wonderful wonderful tool that is most of it next thing that we have would be effects which like we said earlier you want to use moderately or with in moderation too much effect will be a distraction not enough effect can sound dry so you we I just basically use a couple different reverbs just to add a little flare I don't use that on any of my talking vocals just singing vocals or instruments yes so it's just it just adds a little life little presence to it singing vocals I add it to any acoustic guitars on a violin I have a separate one for some drums so just basic things like that so if yep just on a mainly our kick drum and snare drum we use it so covers up a little bit of the mess so if you go to bus 9 through 16 you see the main volume for your initial four effects here so that is how you control essentially the volume forum to route a channel to that it's the same as sending - it's a mix bus so you can just select that effect send on fader I want to send my four vocalists to that so it's done the same way of sending to the video or the foyer or narthex depending on who you are so it allows you to be able to do that very easily as far as sending audio to that as far as changing and affecting that effect at the top you have the tab effects so you would hit that and on the home screen the left side you see your four main effects that you're able to use those would coincide with these four channels down here so what you can do this knob down here the second from the right this allows you to change which effects you want to use so you have a pretty extensive list I think there's like eight or nine reverbs and then a lot of compressors and eq's and all sorts of other fun things that you shouldn't use built-in effect modules it's the same as having a rack with these individual effects they've modeled those sounds and given you all of those in here so you can go to vintage reverb hit sets and if I hit the button next to it edit it takes me to that reverb unit so now you can see the individual controls of that units as far as pre-delay I grabbed a weird delay for demonstration so I shouldn't have done that but we'll go to a basic one Hall reverb will be pretty standard so you can see all of your normal controls pre-delay decay is how will expanse or how long you want that to that a reverb to latch on size would be like the size of the room and then level would be the overall volume of that reverb so you can go through and do edits on there for that so I would just set up a basic vocal reverb and maybe a guitar one that looks like the only things that you'll really use I've use it for so like I would do like buss 13 vocal reverb get just a basic reverb put it in light you don't need a lot of it and then just route each of your vocalists to it and then I would set up another one maybe instruments or guitars and send like your guitar and your violin to it that type of deal and just use a little bit of splash of color on them essentially it won't be much it automatically the for effects they automatically go to the main output when you asked me that last time did I did I ever accomplish that yep you can do it I don't know if I answered it last time so what you can do say we want to control we want to send those vocal effects to our video recording which is live stream will it be too soon you can hit that one you can hit thumbs on fader and if you go to the bottom tab over your bus master which is the essentially the same as this just put over here you see all 16 outputs we you can see our four effects are there so I can send as much of that effect channel as I want to my video recording so on so on so you can control how much of that effect you want going to that here's another secret sneaky sneaky tool that you can do getting away from effects for a second but say you have a couple different mixes or a couple different outputs going to different places but they're essentially the same thing like you want the same things going to them you can mix them the same and route them illegally so so say our mix that's going to the foyer we just want to essentially double that and send it to the nursery it doesn't have to be too intricate we just want to do that so I can hit nursery sons on fader and I can

Channel: Firehouse Guitars

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Id: Reutqh5siLQ

Length: 53min 49sec (3229 seconds)

Published: Thu May 18 2017