Church Broadcast Mixing In A DAW // Setup And Explanation

hey what's going on guys this is alex from kingsway church in cherry hill new jersey i'm going to be bringing you guys a little series here on broadcast mixing for your church um a lot of this is going to be specific to our template here and for the texts that work here on sunday mornings mixing for us but i wanted to put it up for everybody because i feel like a lot of churches are starting to gravitate towards a setup like this and just wanted to make it available for everyone um so to kind of start off in this first video i'm going to kind of explain our setup a little bit and how um we get audio down here and where we're at and all that kind of stuff so we are using uh presonus studio one uh we picked this because um a couple reasons i found it to be pretty stable while mixing live um not to jinx ourselves here but we've been doing this since january and i've never had it crash or go down or anything like that another reason i picked it is because we picked up a fader port 8 which is made by presonus i really like the integration between studio one and the fader port seeing that they're made by the same company so that was another reason another reason too i really like i'll bring this up here so you can see it uh this performance monitor so when i was making this template um i kind of really relied on this to make sure you know i'm not over taxing my computer um it's nice because you know i usually mix in logic and logic just gives you you know a percentage or whatever your your meter is at but i really like how studio one kind of breaks it down by plug-in so if i put a plug-in in that was using a lot of cpu i could you know maybe make a different decision i also like how it shows all of the latency for the plug-ins here um i try to when you're mixing in a live scenario like this um your daw is not gonna do any kind of latency compensation for plug-ins um whereas you know if you're mixing your daw automatically does that but for live you know when the tracks are record enabled and you're monitoring um it doesn't do that so some people use plugins with a lot of latency and they just uh delay all of their tracks and kind of figure out the math and all that kind of stuff on how to make them all kind of line up i didn't really want to do that so i just chose to use plugins that don't add a ton of latency so as you can see here our instances of trigger which we're using to do some uh sample replacement not not replacement but blending in with the live mics is using four milliseconds so at four milliseconds you're not going to hear any kind of noticeable sound um you know any phasing or anything like that um so as long as a plug-in that i put in doesn't go higher than that that's usually my my baseline there um so i just really like this performance monitor it really allows me to kind of make sure i'm you know not over taxing the computer we are running uh this is a 2019 macbook pro uh the 16 inch model um and it is fully decked out i think it's a nine core uh eight core i9 with 64 gigs of ram so we've barely ever scratched the surface of overloading this thing so um that's not to say that you need to go out and buy a four thousand dollar macbook um i know a lot of people are doing this uh with the new m1 mac minis um but uh yeah so that's the computer that we're using um so to start off kind of where we are so we are in our church's studio which was mostly used for filming and there's some workstations back here so people can come in and edit stuff our sanctuary is that way we're below where the sanctuary is we're actually like we're kind of right underneath the stage area or backstage area so we are using a behringer wing console at front of house we had a midas m32 before that moved to the wing just to get a little bit more processing and some extra channels and everything which was nice because we were already using midas stage boxes the dl16s we have three of them upstairs um and so uh we didn't have to change any of that out we're still using all the same stage boxes and everything so that's what's processing our audio at front of house now uh we are using dante to get all of our channels down here um if you're not familiar with dante it's a digital audio network through ethernet um so basically it's a way to send a ton of audio channels i believe up to like 128 um you know 64 using dante virtual sound card which i'll get into in a little bit um but um over a single cat cat5 cat6 cable so it's really um you know easy to make a long run you know we're probably like 150 feet away or so and we have no problem getting all those channels down here from front of house um now because the wing as of this video um the dante card for the wing was announced but it hasn't actually like hit any starting just starting to hit retailers what i'm actually doing is we are um bouncing not bouncing but feeding all of our channels from the wing over aes50 to our old m32 console um and then using that the dante card in that console to send uh the channels down here so some of the limitations with that is that the dante card in the m32 only allows for 32 channels the wing the new dante card for the wing will allow 64 channels um which will be you know with the wing being able to process 48 channel 48 stereo channels that'll give us a lot more uh you know ability to add more things to this template you know for instance our tracks are just a left and a right because i only have two channels available right now uh we are sending our tracks over dante but eventually once we get that card in we'll split out our tracks a little bit more um you know and just be able to add you know maybe some more mics to the drums um some some more uh room mics for broadcast purposes um but uh yeah so we're expecting that card pretty soon thankfully um so for right now like i said we just have the m32 upstairs next to our uh our main broadcast console um we had an existing dante connection from front of house to backstage um and like i said we're right below backstage so i just have a i put a switch at that location and just fed the uh fed another cat6 cable down here to broadcast and i have a switch up here so that's how we're getting all the audio so like i mentioned we're using dante virtual sound card um so if you guys don't know what this is it's basically just a way for you to basically get the dante channels into your computer um so that would be your input device on your daw for the purposes of this video i'm not using it just because we're not actually mixing anything live i have tracks in here that we're going to use for today but i do have it running just so i can you know show you what that looks like and i can bring up our dante controller too just to show that um it might not show like a full picture because i don't believe the sound board upstairs is on um yeah so nothing's really coming up here so um but this is how you go in and do all of your routing um so we're just sending you know one to one from the m32 over dante um to this which would be our broadcast uh audio computer macbook is how i have that labeled and then so in here i have all those channels just assigned to you know where where they actually go to some of it's a little inaccurate right now just because of i'm not actually hooked into that network um but you can see you know i'm sending my vocals out through dante channels one through five so on this end i'm bringing them in channels one through five um so that just gives you you know the the raw audio it's not getting any processing from the wing or the m32 it's just the raw audio so this is completely separate so getting the audio back out of here once it's mixed so everything kind of flows this way so we start with all of our drum channels we have a base we have right now just a stereo electric um sometimes we have two electric players usually the second players in mono um once we get that dante card set up then i'll be able to do uh two two stereo guitars which will be nice i do have a two acoustic channels set up here um a keys left and right um again we we only have two channels for the keys so we prefer to get that stereo sound for broadcast um and then we have our tracks left and right so that's coming from ableton live um our drummer uh will run that software um our worship leader puts together the tracks every week and they just get fired from there i usually sit down with the tracks afterwards and kind of because we only have two channels a left and right and again we used to break it out a little bit more but i really wanted the stereo feel of things especially for broadcast in the room it doesn't really make a huge uh difference either way but um for down here it really made a difference to have stereo um so i will sit down with our ableton computer you know as often as i can and just trying to mix all the tracks you know so that they sound good um so that everything's kind of balanced out some of the tracks that we get from multitracks have like weird like you know rumble and stuff below 100 hertz that doesn't need to be there and all that so i'll clean all that up so it gets a clean feed to our to the front of house and down here as well uh coming from the track so we have media left and right that's cenover dante as well that's just our pro presenter computer um we'll do pre-service music from spotify and then also any audio that gets played from pro presenter our pre-service countdown and any uh meet and greet and uh service bumpers and all that kind of stuff comes all through this channel and then we have our vocals we have five vocal channels set up typically we have between three to five vocals um if we only have you know three i usually hide these two i do have a six channel just kind of it's hidden right now but in case we ever went to that many vocalists it's there so it's already set up um this we have here this is uh our md mic so caitlyn our worship leader she's usually on vocal one she has a switch um that is able to switch her mic channel from channel one to channel 15 um so that she can talk to the band just in our you know just in their in-ears um and then i also have a talkback mic for front of house uh which will get piped down here so i couldn't talk to uh whoever's down here if we need to make adjustments i'm also monitoring the stream from up there so usually just kind of listen to that and i'll explain this a little bit more but if you notice all of these tracks you know the the tracks they get outputted to a tracks bus vocals get outputted to a vocal bus these two tracks go right to our main output um which is just going to our studio monitors here um so that way you know we can just keep these on all the time and monitor them but it's not actually getting passed on to our stream so nobody listening at home is going to hear it so then we come down here to our pastor's mics so we have two handheld wireless mics that the pastors use or anybody that's doing like a speaking moment or anything we'll use um and then we have our uh our pack mic which is um a dpa headset mic that the lead pastor will use or whoever's preaching the message and then we have uh two room mics here so we have two sets of room mics uh two stereo sets of room mics we have um two that are on the stage two small diaphragm condensers that point out that's what's getting down here we also have two large diaphragm condensers up in our balcony which is picking up more of the room sound and everything like that just due to the lack of channels that i have i'm not currently sending those down here these two are the more important ones to have because you know we want to be able to hear the audience a little bit more so again once we get that dante card um i will have it set up so that all of those room channels come down here um so all of these channels get outputted to these buses here so we have a bus for each kind of group um they see a little bit more you know processing as a whole everything like that um so then all of these get outputted and these are our effects channels here so we have a hall verb which we use for our vocalists uh snare verb and tom verb room verb is what we use for like everything else just some of the instruments just to kind of make them all sound like they're in the same room and then we have like a long um like a throw delay that kind of you know we can tap in the beat of the song and then a short like slap back type delay so all of these then get outputted to this here which is our mix bus which is where we're doing all of our processing and that goes right out to our mains which is output one and two that's our monitors um as you can see we're sending here to what's called the stream output so that's this guy right here and so this is just getting this is what's going on to the stream so because i'm not hooked up in the same way i usually would be these would be outputs three and four usually and outputs one and two just go to the monitor so that's the difference between you know since these are just going right to those going right to that main output and not hitting this mix bus that's how we're able to hear them only in the monitors and not have that go out to the stream so this is then feeding at exactly you know send level unity to this output here um and then so that goes out outputs three and four so the setup for that we have a you can't see it here but we have a focusrite scarlett um i believe it's the two eye two ends and four outs or four ends and four outs or something like that um it has two mic preamps on the front and uh it's got four outputs on the back so um so outputs one and two out of this are getting sent to this uh big knob passive controller um which feeds our studio monitors we're using a set of cali audio lp6s they're very flat they're really good for this room we do have a little bit of treatment in here but it's nothing crazy and again we're backstage technically so we do get a decent amount of low end from the subs upstairs in the room but this uh big knob passive controller hooks up to those and then i also have a set of just logitech crappy computer speakers which just kind of gives you a sound of you know somebody listening on their phone so they can use the this controller to flip back and forth between those two speakers and control their overall level they can sum to mono um all that kind of stuff and then outputs three and four out of the focus right are actually uh going back upstairs here so the stairs come down here um and like i said we're backstage so that goes back up to one of our dl16 stage boxes um which is then sending that you know the the mix the stream mix um out to those dl-16s which takes it back upstairs to our our uh behringer wing and then we're coming out of the behringer wing um and we're heading straight into resi which is what we use to to do all of our streaming uh so talking about our buses so even though we have everything going to a bus um this is all here for processing and grouping of the tracks i do have some kind of level set here um i forgot to mention this that we have uh all of these vcas over here so what a vca is um it's just a voltage controlled amplifier but basically um it's it's just straight up volume up and down you can see as i move that it moves um our vocal bus relative to where it's its level is set so um typically i leave these at zero um that's kind of their starting point um and then as the techs are mixing that's kind of what they're using um you know to kind of mix everything um because the way that we have our fader port set up it's easy to pull up those vcas and since there's eight channels we have eight vcas so all of the vocals come to right here which is just controlling off that vocal bus then we have our drums which is just controlling uh the drum buss now if you notice too our snare verb and our tom verb are also a part of that so as we bring this down the reverb for the snare and toms will also come down the next one would be our instrument vca so this is basically everything else that is part of the band um the tracks all that kind of stuff um so we have a room vca which just pulls down the the room bus and again i have these even though they could just go and pull down the room bus it's nice to have just eight channels so that they can kind of live on the vca layer on the fader port here um and then just use the mouse to get to individual channels um that seems to be the the way that most of our techs choose to to mix um not having to jump around on menus on the fader port and just kind of staying on that so then we have uh the media vca um which is again that's just our pro presenter channel uh the pastor vca which is all of our pastors mics the two handhelds in the pack and then we have the reverb vca which is all uh just the the hall verb and the room verb so if i pull that down those guys will come down with it and then the delay vca so these are always basically the techs always have access to uh these vca channels on the fader port so this is how we manage most of our transitions um you know with the pastor's mics um you know if the band is is playing we'll have this pastor vca down and then as that transition happens we'll you know kind of determine whether they're using past or a or b if they're on pastor a i bring this up right now but there's still no audio coming through because the vca is down and then as the pastor comes up now i can just easily just pull this up and then you know pull my my vocals and drums and instruments down so that they're not competing with each other on the stream and again like i said i'm not showing it here but i do have physical faders that's able to to do that so it's easy to kind of hit some of those transitions that way you know and then same thing coming out of like a meet and greet type situation where the media is playing you know i have the media here which i'm sorry i have the media over here which is hooked up to that vca so if i know at that point that um you know my my lead pastor is coming up with his pack mic i can have this down and every everything else here will be down as well um you know and at that point it's just media playing from pro presenter and then as that fades out i can just kind of bring him up and bring that down and now the only thing that's coming through to the stream is the pastor's mic and you know sometimes a little bit of the room depending on the you know who's speaking and what mic they're using usually the handhelds they need a little bit more room sound um but yeah that's uh it for the vcas so just to kind of give you a little sound sample here of what this sounds like so this is a recording um from our church that uh is just the raw audio um recorded off of our behringer wing out of uh in the logic um this hasn't been touched or anything like that um but i just kind of brought it back in here um so you guys can hear what the template sounds like [Music] [Applause] [Music] [Applause] [Music] [Music] all right so that's uh just to give you an example of what our template sounds like so that'll be it for the uh this video um in the next video i'm going to take you through our drums and how we're using our samples and all the processing that goes through that so stick around for the next video you

Channel: Alex Shourds

Views: 1,307

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Id: 9ZEtpVrz7S0

Length: 23min 23sec (1403 seconds)

Published: Sat May 08 2021