How to Mix Audio for Live Streaming | A Guide for Churches

jake said my name's adam i've been at churchfront for a little while now but before that i was doing a lot of front of house audio touring with bands managing venues i went to school for audio engineering so a lot of the studio stuff i learned in the classroom or in the studio and then a lot of live sound stuff just through experience of touring with bands and managing audio at venues so i won't say that i'm the expert and i don't think that you should listen to oh yeah i don't think anyone should say that they are the expert i'm sure that that jesse will even say that he's continuing to learn and that there are people that he's drawing from so um yeah i i do have a lot of experience but uh don't expect me to say that i'm i'm the know all and all of everything audio so i hope that you can approach this with the same attitude that you can definitely learn a lot here but continue to learn from from other sources as well so that's me we're going to be talking about broadcast audio fundamentals so a lot of this stuff is going to translate from live sound to studio to broadcast mix it's a lot about concepts that are going to translate between each of those things so i just want to start off with talking about channel signal flow and then we'll get into more of the the big picture after that but what we have is sorry is my microphone too far away a little bit closer there um so we're going to talk about channel signal flow uh this is for every channel whether it's front of house or your broadcast mix so it always starts with the source um so that wasn't deployed but just now i just fixed my microphone because i didn't think that i was getting good source tone it was too far away so i pulled it closer that's a real life example for you guys of of focusing on the source tone i wanted to make sure that my headset was properly placed so that i'm getting the best source tone possible so when i talk about source tone i'm going to be using these phrases that is referring to the source however it's connected so this is how this sound board has some xlr outputs it's going into a snake that's going to the front of house board sometimes they have a guitar that's plugged into a di box other times they'll be microphones that are plugged into the preamp so whenever i refer to source that's what i'm talking about um that's that's going to be probably like 40 to 50 of the sound of your instrument is going to come from capturing proper source tone and then another huge part of that is going to be the gain um and when i talk about that that's the adjusting the preamp of the soundboard to an appropriate level for processing so every channel that comes in you're going to use the gain knob to make sure that you're getting a proper level coming into the soundboard and that's going to be another giant part of the sound or the tone of your instrument after that we've got eq and i will say here just disclaimer eq and compression can be flipped you can put compression before eq eq after compression but those are the next two parts of the chain and when we refer to eq we're talking about uh shaping the tone of the instrument by boosting or cutting different frequencies and you'll see that as we get into the rest of the lesson today but when i'm talking about eq that's what i'm referring to it's gonna make a big difference but uh honestly not as big of a difference as capturing the tone of the instrument and getting proper gain but as you can see like by these arrows here like the source goes into the gain and then gain effects eq gain effects compression gain affects your mix and your effects busses so um that's why that diagram is there to remind us of the flow of the the processing so compression next that is controlling the dynamics of the signal so the dynamic range a lot of times you'll have a vocalist or an instrument where you know they're playing quieter and then they play louder and uh that's not exactly what we're trying to achieve with um with our mix so compression allows us to have a better a shorter dynamic range as we're mixing and then you can see here we have this little offshoot uh so that is talking about the copy of a signal so everything that you do you can see here before affects what happens to your effects or busses and again disclaimer you can put the tap somewhere else and have it be sent before eq or compression but for the most part especially referring to your live stream it's going to be affecting your effectses and your buses so this is a copy of the signal that's sent to the time-based effects like the reverb or the delay uh in your monitors and in this case your live stream mix and then finally we get to our mixing so if you're part of the mixing for worship course you've experienced this we've made a ton of lessons and we just started using the sound board a week or two ago because we talked a lot about source tone capturing the instrument as it should be and then just the mixing mindset in general so also if you're part of the course you'll recognize this diagram and you probably won't be able to sit close enough to see everything that's going on but i'll also show you on the sound board here so what we have here is just the entire mix it's it's really important to just understand your whole workflow and i know that that can sound daunting but if you were to build this exact diagram for your church or for your mix you would just have a way better understanding of everything that is happening and where it goes um so if you're part of the the course this is a download available to you but i'll talk through it and then we'll we'll look at the board as well but um what we have is every input and everywhere that it's going so at the top we have all of our inputs in these little bluish gray boxes so that's our whole drum kit and then we have other instruments and then we have our vocals and then you know some speaking microphones over here and all these arrows show where the mix is going so these black lines uh they're going right to the main mix or they're going to different buses so we have like our drum smack our compressed drums and then we have our just our drum reverb and everything ends up going to the main mono center mix for our subs and then our main left right mix that goes to the mains um so this is this is a cool experience a cool um fun thing to do i definitely recommend giving this a shot even if it's just on a big piece of paper but just like getting your mind around everything that's happening within your soundboard it's going to make building your soundboards scene and actively mixing a lot easier signal flow is is really important but it can get hairy so that's that's one thing that you'll just continually be working on continually thinking about is how is signal getting from point a to point b so that is our our giant mixing diagram and i'll show you a little bit on our sound board here if chipper you want to put this larger shot on the main screens here so we have all of our input channels right so we have our base acoustic electric keys tracks vocals and then on the second page we have all of our drums so we have our inputs as i showed on the diagram and then all of these are being sent to buses so there's a lot of different ways that you can build a mix but i just found for being able to control the live stream and being able to control the front of house mix i like this workflow especially for this for this board so all of our drums are going to two places here one is our drum parallel compression so this this is every channel here as you can see here our stereo buss is off so none of these channels are going directly to the mains they're all being sent to buses before they go to the main mix so all of our drums here are going to this drum parallel compression and we're adding some additional compression on there here and then we have our regular drum mix and these are not being compressed so that's just our raw drums and we kind of mix those in together we'll go through actually hearing a multi-track later but for now we're just going to talk through the mixing workflow so all of our drums go to those two places and then go to a dca which they don't go through the dca but the dca controls the volume of it and then it goes to the main mix then all of these channels similarly we've got our base through keys all the instruments and the tracks are going to the instrument bus here there's also some light compression to glue those together and then it's controlled by a dca going to our main mix we have our vocals same thing vocals are being mixed into this bus and then our bus is being sent to our main mix and then we have all of our effects so we have a drum reverb all of our drums are being sent a copy of the drum signal flow and then here we have an effects uh inserted so here we've got all of our effects and a little bit harder to see but we've got different reverbs and delays so those are all being routed through these buses and then we have the returns of those coming to this stream effects bus so i did that pretty quickly and i know that this this board is uh is specific to this mix and it's specific to this workflow but that just goes to show that you can do um you can do a mix a lot of different ways and it's just important to know what it is so if you want to copy this workflow that's awesome if you have a different kind of workflow that you want to go with that's fine but you have to know it you you really have to understand it and that's why drawing out a diagram is a really good exercise to just help you understand everything that's happening how signal is getting from point a to point b so i didn't have it on a point but signal flow is another one of those things that that you just have to understand and that you'll continue to learn and run into in every scenario whether it's front of house broadcast studio mixing so we've covered the layout of the board [Music] does anyone have any specific questions about that before we dive into the next thing cool yeah yep yeah yeah so each channel is it's not going to the main mix it's going to one of these buses um so here we have this base channel and it's going into the instrument bus so if i if i select the bus and hit sends on fader i have them all at negative five um i just found putting them at zero just gave me a little too much signal so i mixed them all at negative five and they are post fader so that means uh on our main mix when we're mixing uh just our regular main mix like you can see the electric guitar is down a little bit more that changes what's being sent to this instrument bus so if i were to pull this out it would you know be out of the mix but it's all it's all going to these specific buses you know what i'm saying yeah um that it just allows me to have a single fader on the surface so it's it's just like a volume control jesse do you want to say something okay i thought you're yeah feel free to interject if there's anything that you uh want to add um but yeah the dcas they just kind of allow me the layout of this board specifically it doesn't have paired stereo channels so in the buses i have to have two faders and i'm just using the dca so if i'm mixing in a live scenario i can have a single fader for drums a single fader for instruments and then have my effects all available so if i were mixing a live service right now i could pretty much keep it on this page here on this side and then i'd only have to bounce to this second page if i wanted to adjust the drum mix like you know pull up specifically one of the the floor toms or something but you could pretty much mix on the surface with this layout that i'm using yeah yeah especially if you've been able to do a virtual sound check um and you you have it kind of dialed in um or after sound check uh you know after you've adjusted the gain and the eq for for the service and you're just in kind of mix mode you really shouldn't have to move off of this too much so yeah uh there is a matrix um that we're using for the uh the stream to get to the live and i'll walk through that a little bit later on on how we're doing that but yep yeah yeah so we are using a matrix a little bit different than we taught in the video courses but uh yeah we'll get into that in a little bit but i just wanted to to show the exact workflow of um of how this board is working so that when you see me mixing you you understand what's happening with the entire mix so chipper do you mind going back to the uh pro presenter we can walk through a little bit more so in any mix there are certain ingredients we've talked through this a little bit but it's getting quality source tone so there's a lot of different examples of this but say you're making a drum kit you want to make sure that the drums the microphones are placed properly even that the drums are tuned properly it's going to make a world of difference just capturing the proper signal and then we have our gain structure and i'll actually play a little bit of this multitrack and show you exactly what you're shooting for so if i just go ahead and solo a vocal here we'll see it come in you might i don't know where the fader is at on the the main mix chipper but i'm going to have to play this at full volume so that we hit the compressors the right way so let me get to our vocal so even before i pull the vocal up before we listen to it what we want to do is look at it and see the actual input metering and every board is going to have not every board a lot of boards are going to have different numbers on the side as far as what they consider unity or clipping or zero but a good general rule is just to be hitting the yellow so or orange on this board if i were to make it clip let me see where i'm at if i were to make it clip you'd see it hitting the red at the top not yeah necessarily on this one but you want to be going for just as it's hitting the yellow so good thing to remember is green is go yellow is slow down and i guess clipping is go backwards not necessarily stop but that's what you want to do with your your gain and if i were to have too low of gain structure if i was coming way down here with our with our input it's not going to hit the compressor properly so here it's not even hitting the compressor because the gain is too low so that's what i mean when i say that the gain affects everything down the line with your channel signal flow so let's get this back up to where it's supposed to be and then you can see it's hitting the compressor properly and we're getting about you know almost 6 db of gain reduction on our compressor if i had all these settings right and then i i started doing a sound check and i didn't get proper gain structure it wouldn't matter the rest of the processing processing that i did because it the signal wouldn't be going into those processing units properly so that is gain structure sorry chipper i'm having to go back and forth a lot but we're going to talk about the actual processing next so we talked about what eq compression and effects are but just for an example we can listen to this vocal and i can turn off the processing and then we'll talk about exactly what's happening with it so we've got our raw signal here and it is captured pretty well but um you know it still has some work to do so we've already got our gain structure the next thing that we're going to do is our low cut oh perfect go back to the board there [Applause] so even there you can see that cutting out a lot of that low end cleans up the signal a lot so i'll tell you on every channel you should have a low cut it's just how far up it goes as far as depending on the instrument itself and how much low end is a part of the instrument but um every channel should have a low cut and you can hear it makes a pretty big difference [Music] i'll get back to over here [Music] so our next uh section we're gonna look at is our compressor and on a vocal i'm not really as concerned about the gate but that's going to make a bigger difference on the drums so we'll go through a drum channel channel as well so you can hear that but with our compressor on this one i've got a fairly fast attack hold and release time and you can really experiment with those just to to hear um what you like the best and i won't tell you that you can just like buy a template or like copy some settings and then it's gonna work for you i really think that everyone should just like learn how to use their ears there are some starting points that you can that you can use but i don't like to get into the numbers too much because some people get stuck in that like oh well this person said i should have my attacks at this number so we won't do too much of that but we can give a listen to our compressor here so you can hear that uh it's kind of leveling out the uh the dynamic range of the instrument and just for a a technical example uh or definition of a compressor every time it reaches past this threshold so every time it tries to go above the threshold whatever your ratio is it's going to be compressed that many times so a three to one ratio the signal is uh being compressed three to one um so uh you can see we get past that point and we're shooting for you know about six db of compression so it's being brought down 6 db at its loudest points so after that we've got our equalizer and just for an example of this vocal what i'm doing is cutting out some of the low end with a low shelf so a low shelf is everything below a certain frequency is being brought down the low cut takes everything out it you know takes it down to you know infinity or you know zero signal to pass through a low shelf just lowers um everything below a certain frequency by a specific amount um and then we're using a couple different uh parameters in the mid-range to get rid of some like nasally sounds which is is usually prominent in in most vocals and then our high we're boosting a little bit so i can show you [Music] give you an example of [Music] so not really pleasant let me pull that out and um you can't really do this in a live scenario where you've got the whole band there but um just more of a training kind of scenario a method i like to use is sometimes called seek and destroy or search and destroy so we'll just play this and i'll boost the the eq in a specific range here and then you can sweep back and forth the frequency and then when you find something you don't like you can pull it out and uh even doing that in practice you can kind of learn different instruments of okay like this kind of vocal or this kind of instrument is generally going to have something that's not desirable in this range so like i just know in a lot of male vocals uh about 1 to 2k you're going to get that kind of nasally kind of sound that you might need to pull out so clearly here it it proved true but i can show you the actual search and destroy method so even this one we could pull out [Applause] so like i said um you can't do that in a live scenario because you can't you know solo the vocal and then boost it and then have potential for feedback through the speakers um but in in the scenario where you're doing a virtual sound check uh that's a really good method to use so we've covered our low cut our compression and our eq and that's going to be on on every single channel in this first method method that we're talking about with a live stream mix it's going to be based on the sound board and then sending that to a matrix feed and then going to your live stream in the next session we'll talk about sending audio to a daw so session two you'll see you know all this processing happening on the daw session one we're just focused on using your sound board so i'm gonna get back to our slides here um so we've got our quality source tone our gain structure our processing and then our actual mixing [Music] when you're using this method of mixing through a soundboard going to a matrix to your live stream all the processing that's happening on the board is going to affect what's going to the live stream so you really have to kind of mix the two together make sure that you're getting a good sound in your room as well as your live stream and one thing that's going to make a big difference in that is making sure that your room is tuned properly and that it's got good acoustics because um if you have speakers that aren't properly tuned uh you're going to do some crazy things with your eq on the channel level yeah uh yeah yeah we'll get into that yeah oh yeah because it was on the slide um yeah we'll i'll do a little bit of a demo of a of a full mix a little bit later on i just wanted to to get through our our channel through um mix part um yeah no problem yeah so uh when you're doing your mix on your soundboard and it's going to your live stream and your room isn't properly tuned you're just gonna do some really crazy things with your eq on the channel level to make it sound right in the house so you should be able to just play a track from spotify through your house and it sound good and if it doesn't you can either hire an integrator and have them come in and tune your room properly which is is my number one recommendation but if you're feeling adventurous and you want to you can tune the room yourself and you just have to make sure you have a good set of ears and probably a second opinion there and and i talked through that in the the mixing for worship course but we we do a pretty good example of what we did in this room with making sure that our our front speakers um were tuned properly and then our rear speakers were tuned properly and that there's the right amount of delay between them um so there's a lot of science that goes into it um so if you're if you're strapped for time or you're uh nervous about ruining your your sound system um i'd just say hire an integrator and they do a great job of making sure your room is tuned properly all that to say um you need to have the room tuned when you're when you're doing this because uh everything that you do on a channel level like we just talked about is gonna affect your live stream mix um and then mastering is not something you always necessarily think about with a live mix but there are certain things that you should be doing on your your broadcast mix that i'll show you the exact processing we're doing on this in a little while but when you're you're going to a format where where people are listening on different places like you know their laptop or phone or a tv you really need to have a lower dynamic range than you would in a front of house live mix and you also generally need to have a little bit more high frequency content so there's different things that you need to do when people are listening on different devices as opposed to in the room you have control of exactly how the sound system is tuned what it sounds like everyone's listening in the same space so it's it's not something you think about as much in a live scenario um but that's something that we'll we'll cover um and that's why it's one of the ingredients of our broadcast mix and then something that you also have to consider is routing uh and doing the audio sync so making sure that your uh your final mix is going to however you're streaming whether it be you know pro presenter or resi or a streaming box of some kind uh you need to get your your stereo live stream mix to that and it needs to be synced with the video so there's a couple different methods and it's very distracting when it's not synced so one thing that you can do i'll just even show you now if you want to see the full like routing method and seeing it be synced with video you can go into our studio tomorrow and we'll we'll put this sound board in there so you can see it in action but just quickly here's our live stream output mix and then we have a in our routing here in our outputs we have a delay button so outputs 1 and 2 they're our live stream you can apply delay on the sound board or you can apply delay within propresenter if you're using that for streaming but you need to make sure that your audio is delayed so that it's synced up with video cool and then the next thing i want to talk about is the two methods like i said today we're going to talk about mixing with a digital console so we'll walk through a live stream mix of just using this for our live stream mix and then we're talking about mixing in a box in the next session so i'll pull up ableton and you'll be able to see the screen and how we're doing the processing to do our mix there and just a couple of of tips in general for your broadcast mix one is to use congregation mics so we have a couple you probably can't see them that well they're in the dark but up here we have a couple of shotgun mics that that capture the sound of the congregation singing and it's really nice to mix that into your broadcast mix because it helps people feel more at home if you were here in the room you would be hearing others sing around you experiencing that singing psalms and spiritual songs to one another that we read about in the bible and then the other is room mics if if you've been in a room before you know that you hear reflections off the walls and you hear the sound of the sound system and and also a little bit of people singing around you um it's nice to add those into the broadcast mix to feel the have the online congregation feel like they're there in the room um a little bit more and those would be located at the front of house booth pointing towards the um the stage so there are some different things you have to get into as far as having those properly delayed so that you don't hear your your actual live stream mix and then those microphones later but that's something that you can dive into don't necessarily have time for it today and then vocal tuning really helps a broadcast mix here in in this kind of environment uh there's a you know a lot of reverb um being applied through the board there's a lot of reverb and and reflections happening in the room it's a lot more forgiving in a room when you're listening to a broadcast mix you really hear pitch issues with vocalists so vocal tuning is really nice to add if you have a sound board that has that capability um you can do that with the method we're talking about in the first session um if you don't uh you in your mixing in a box it's it's really easy to add a vocal tuning plug-in we're not trying to be american idol or anything but just tightening it up a little bit makes a big difference so the process of doing this gain staging processing we talked about that we're going to create a live stream bus matrix sorry live stream mix matrix like jake said we just changed this method a little bit yesterday so um if you want to throw the board back up i can give another walkthrough of that quick we've got all of our channels and there's those are going into buses and then each of these buses are being routed to a matrix so if i go to our matrices here and let me just explain quick a a matrix is a group of buses that can be sent to an output so if we had if this were the sound board controlling the room it would also have matrices for our front speakers as well as the the fill speakers and the subs so that our our main mix would be going to those three different locations so you can kind of think of it as a grouping of the buses or outputs or mixes that go to a physical output so this matrix is our live stream and when i when i select it input sends on fader we can see our bus master has each of the um our matrix sorry our matrix one and two for our live stream has the drum parallel compression group the instrument group the vocals and the drums as well as a grouping of delay reverb um just delay and reverb for this for this mix going into it so not only are you getting the same bus compression that you are for your front of house mix it's going to your live stream and i just had to route uh our effects to another set of faders so that we can have reverb and delay in our live stream i'll go through that later i'll show you what it's like if you if you don't have reverb and delay but it's it's not as it's not as nice definitely have to add that to your mix so after we do that we want to select our matrix and have it be stereo you always want to have a stereo mix for your broadcast mix so you can do some panning and have effects uh spread out a little bit um i think i went too far back okay i guess not um so we're selecting our matrix we made it stereo on this board specifically if you choose matrix 1 or 3 or 5 an odd number you hit this link button and it pulls in the next fader next to it so we've linked our channels i've named it it's good to name your channels just get into the practice of that and we have all of our buses post fader and post pan so that means if you make a pan or a fader move on your main mix it's going to be reflected in your live stream mix one thing i didn't say at the top of this is that this method allows for a more hands-free experience like you don't have to have someone specifically wearing headphones the entire service actively mixing because whatever you do on your front of house mix is going to be reflected in your live stream mix and the reason that we want those post fader and post pan is so that as you're mixing you have someone uh you know vocal one is leading and then song two uh vocal two is leading when you make those changes in the house it'll be in the live stream mix as well sorry that was a really quick thing um so then after our our post fader post pan mix we're going to do our mastering so so just real quick to show you on this board specifically i'm giving you lots of work chipper um we have our well i guess that's more on this screen we're using these different buses and you want to make sure that they are post pan so you want to hit this follow left right button so that your pans follow the left right buses and then you want to make sure that it is uh post fader as well so you can see here these ones are post fader these ones are post eq um so we want to make sure that these are post fader so that's how you adjust that on on this board make sure my other one is post fader good deal so that's how you do that and then uh with our mastering um let me see where i'm at with with slides and time yeah so i think at this point we can just um go through the actual mix of what i have going on and obviously this is a you know a front of house mix console thing so what we're listening to is the actual live stream mix but everything that i'm doing would also affect the main mix so let's see i got till 10 45 with this one yeah cool yeah so um real quick i'll just build our our mix here so you can hear how i'm doing that and then i can show you a little bit of processing on specific channels actually let's start with uh let's start with the drum because i think out of anything this has been the most processed uh specifically with with transient instruments like the the actual kick snare toms um having gates enabled and set properly just make a huge difference so we can listen to our our kick soloed here so on here here's our unprocessed channel so there's a lot of bleed going on there what we want to do is is use our gate to to fix that so when you use the gate all you get is the kick um so how i determine how to set this was i use the threshold and i just play the instrument and um the snare hits and the tom hits those are going to be quieter because the the microphone is focused on the kick drum but it's it's capturing the sound from the other instruments so i just set my threshold so only the kick drum comes through so if you can see the little dot um moving back and forth only when it goes above that that diagonal line is when it's allowed to come through so that's how we have our gate set um this this mix specifically has two microphones for the kick so the kick in we're only focusing on the snap or the attack so i've put a low cut on there then we have an eq which is also doing some processing pulling out some mid-range frequencies and boosting the snap so that's that probably doesn't sound that great on its own but when we open up the kick out it adds a low end to it and if we were to only listen to the kick out you're just hearing that that low end so um that's probably not the method that most of you are using i'm assuming most of you probably just have one one kick mic but i am interested is anyone here using a kick in and a kick out on their on their drums all right so this method doesn't apply to a ton of you but you do want to capture the low end of the kick as well as the high end of the kick um and marry those two and that's that's what using a kick in and a kick out does there um so we can just listen to the rest of our our full mix here and then um i'll just show you a little bit of how we're pulling in our bus yeah yeah so a really common one is a uh a sure beta 91 i think it's called and it's just like a flat piezo kind of mic that you you like literally just like set in the kick mic um so your kick mic should have a hole in it and then you just set your kick uh your microphone in it and then you have a second one that's like further out so it's capturing more of the boom um the resonant head on the front of the drum so that's um i mean it's a fairly popular method i've mixed a lot of shows with with two microphones but um i think that with a singular sure beta 52 or audix d6 microphone placed properly you can get um the best of both worlds so um yeah and i want to make sure that you guys see exactly what's happening with with the full mix of of using the buses and the bus compression going into our live stream and then hear the differences of uh of the the mastering kind of thing that we're doing on the live stream so um i'll just do more of a quick mix and and a b some of those things so you can hear what they're doing [Music] so try to pull all this out so i'll start from scratch here we've got all of our channels going into these these buses so i'll start with the kick out pull in of course we get to a break right there and with snare bottom i like to add like if i kept it at the same level you'd hear a lot of uh too much of that bottom snare so i usually have that a little bit lower um [Music] so we've got our parallel compression um you can hopefully hear like there's a lot of compression happening so if we just use our dry mix a little more dynamic then we can pull in the compressed sound um just helps pull out the transients more attack [Music] [Music] so [Music] so obviously that's really quick mix but we have all of our instruments coming into these buses and like i said we're listening to the uh matrix mix so if i were to play this again and adjust the individual instruments you heard that those were being adjusted um but the the trick with having a live stream matrix mix in this method is um kind of using it to uh adjust what's happening for the live stream uh versus the the room so in here um if we had a live band playing with a real acoustic drum kit you would want more you'd probably pull the volume of the drums down in the house but you can compensate on your live stream mix by just pushing it up louder for your live stream mix so um if you're doing this method you want to have some headphones and solo the live stream mix so that you can hear what's going to that and be able to make a couple of tweaks like that same thing for teaching if we had teaching microphones in this major in this multi-track here we have another bus for live for the teaching and you could you know push that up a little bit louder so that the the teaching is louder for the stream than it would be in the room um but we've got our live stream mix coming to this matrix and then what i've done here is i've added a little bit of bus compression so bus compression is putting compression on a group of channels like our drums or our vocals so additionally on on all of these buses you'll see that there is some bus compression happening but then on our our final output our main stream matrix mix we have some compression happening here as well and it's pretty light it's a two to one ratio not a lot of gain reduction so it's really just kind of helping glue it together and keeping any big dynamics from from popping out so we can hear that so um especially in a a live sound system it's it's pretty subtle uh if you were to throw some in-ears on you'd probably hear the difference a little bit more but the other thing that we have on our live stream output mix is this stereo enhancer and this is um uh kind of enhancing the the harmonic content of the mix in a simpler term it's it's another eq it works scientifically a little bit differently but if i can go to here i can enable it and disable it so on this board specifically what you do is have this as one of your effects your effects racks and then you would route the input of your live stream to it so here you can see we have our effects rack number six and i just scrolled through until i got to matrix 2 which is where we're playing our live stream mix from and then i have it enabled so i have it inserted there so i can turn this off and you can hear what it sounds like [Music] and clearly there is some some output differentiation there it's it's it's boosting um the output so i can even turn this down so you get a better example and you're not just thinking it sounds better because it's louder so um the low end was boosted a little bit the high frequencies uh were cleared uh were a little bit higher so you know some more of that high frequency content and then the mid-range was dialed in a little bit as well so you can see uh well it's more because our high end low frequencies are being boosted in effect it's kind of like turning down the mid-range um so that is our our full mix we've got all of our channels going into buses all of our buses on this side are being sent to our matrix and then our matrix is being routed to our live stream and uh like i said you can we'll pull this board over to the studio tomorrow and you can see the exact routing of it um but essentially whatever whatever you're going into you want to make sure that your live stream is routed to the inputs of your your atem switcher pro presenter what have you yeah so that covers our full mix and we can do a couple of quick questions um and then if we don't get to all of them you can save them for this afternoon but our next session is going to be about mixing in a daw and just to show you the difference a little bit um i pulled in an example of it so here here again is our doing a live stream on a digital console [Music] [Music] [Applause] and again i just realized i didn't show you the uh the effects um so when you have a a live stream bus mix that doesn't have any reverb you'll get to hear that something [Applause] [Music] um so it's really important to have that that reverb and delay also routed to your live stream mix um but that's what that's what i think that is a pretty good sound like i've worked on this mix for a little while i'm not sure i can get a whole lot out of doing any more processing but i do have a clip of what you can achieve when you use a doll like ableton live i'm just going to turn our mastering off of there and then open this up so you can see some of what i'm doing so what i'm doing here is we have our our aux is coming in up to one and two i'm just pulling this into a bus mix so that we have it uh so i can send it to our our matrix here so we've got our matrix and we're going to pull in bus 11 and 12 and this will just be are aux 1 and 2. [Applause] uh so that's just an example of of what you can achieve when you're able to do drum replacement vocal tuning um using waves plug-ins things like that um so just because it it took me a long time to to get that up i'll go back to other mix so you can hear what that sounds like do a little bit more a b there so again here's um the best mix that i could come up with on an x32 [Music] so if you're to ask me what method should i go with i mean i would say try and get a daw mix going but if you don't have the volunteer base for that or you don't have the equipment for it yet and you want to get a live stream mix going i think using a digital console is a great way to to get started with it and it doesn't require as much attention during the service to be actively mixing all those inputs but i think that this is a really good way to go using the domix and then that's what we'll talk about in the next session so we can take a couple questions now if anyone has any specifically about the the board mix and how that works um no so uh the way that you would route this is um all of our our buses here uh so the the drum the instrument the vocals uh these are groups and then um you can see there's this button here yeah still up there uh stereo buss so that's going to your main left right so if we had these plugged into a set of the house speakers you'd hear the main mix in the room and then your stream mix would be routed to you know whatever live streaming device you're using um so all these buses uh that we heard as we were mixing um would also go to the mains right yeah there's no there's no matrix for your house mix there's only the matrix for the live stream okay so for the matrix for the live stream you said that if you soloed that matrix then you could go in and make kind of micro adjustments to what your stream is hearing and it will not affect the in-house sound right so um you can zane to the rescue this is zane uh he was unavailable earlier but yeah so um we're saying the the these buses here um everything that you you mix as far as channels go into these buses and then um when you go into your your matrix here for your live stream you can select that and hit uh sends on fader and then on this side of the board when you go to your buses you can change how much is going to this live stream so you're not you're not doing it on a channel level you're not saying i want my my live stream to hear more of this vocal or that vocal um you're doing that with your live mix and then everything you do with your live mix goes into these buses and then you can change how much of the buses are being sent to the matrix so um yeah with your live stream here sends on fader two buses like in here if you were doing a live mix with live drums you'd probably turn the drums down for your live stream or turn the jump sorry turn the drums up for your live stream um but in your house you might have them lower just because drums are making sound on stage does that make sense yeah so this method there's a lot of where it goes from point a to point b you know there's a lot happening in between there um so and i know that this is a lot to take in in a live environment you know with with the uh the lessons that we make online you can pause it and go back and watch it 10 times and and even i do that if if i'm about to help someone with something and it's like let me get a refresher on that so i know that you can't do that in this live environment but if you have questions um you know we can always like draw a different diagram or write something down and um if you're watching if you're a part of the worship ministry school you can watch these lessons and um you know pause and try it and go back so yeah zane do you want to grab the the microphone or do you have another one perfect um so i was wondering what limitations with that set up for the live stream what limitations are there with like you wouldn't necessarily be able to change eq on a specific channel only for the live stream correct it would have to be at the bus level right and yeah so the the example i played at the end of the ableton mix i was able to do separate eq separate compression separate delay and reverb but with this method you're you're using the eqs and compressions from your live mix and so that's why at the beginning i said you need to have your room tuned properly so that you know whatever system you're listening on it sounds good okay yeah so you're saying with a properly tuned room it should sound good over the live stream without having to custom edit yeah channels specifically for that yeah yeah it's kind of like you can get a pretty good mix um you know i'm on the side of the speakers but i feel like the the ableton mix is you know a little bit more dialed in um but i think that that this method if you do it well is totally listenable you know okay yeah that makes sense thanks yeah thank you um quick questions so uh for the vocal tuning uh i'm assuming that's like auto-tune yeah yeah you kind of uh and i'll i'll get more into that in the the next session so you can see like exactly what's happening this sound board doesn't have uh vocal tuning natively on it um so that that just wouldn't be part of your your digital board mix i got you because i was curious how do you like set it up like if you have a channel for tuning for each person is there a way to change it if like a key switches for a different song like efficiently um uh it depends on if you're using antares and a certain daw it can work we're using waves tune live so you'll see what exactly i do in the next session okay so yeah and i think if you have any other questions you can just write them down and then we'll we'll cover those in the q a and the panel later but uh do you want to give everybody a break yeah thanks adam let's uh give him a hand and

Channel: Churchfront

Views: 49,528

Keywords: churchfront, worship leader training, worship ministry school, jake gosselin, worship tech training

Id: 7YUNmkOg1O0

Length: 59min 28sec (3568 seconds)

Published: Tue Jun 22 2021