I'm primarily a live audio engineer and production manager. This channel is an offshoot of that and has live (and studio) audio production tutorials.
Hopefully, people find the tech info and behind the scenes looks informative and helpful. It should be helpful and/or informative for techs and musicians and for anyone in the live audio production business.
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I've started a Facebook page for sound people of all levels to exchange information and ask questions. It can be found here:
Live Sound Questions & Answers
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Thank Alan, one question: is posible to usb return just 8 tracks, from repear, like an electric drum with a plugin, and the others resting on xr18 could be vocals. Bass and guitar but those connected by line?
🗣️🗣️🗣️🗣️ dont mix on the gain knobs!
There is no Ethernet cable. Ethernet is a protocol. STP cable is accurate.
It's 2024 and the term Ethernet cable is perfectly acceptable when talking about twisted pair cables that are typically used for Ethernet purposes. As is the term "Network cable". While it could mean other types of network cable (like coax), the reality of modern practices makes "Ethernet cable" a perfectly understood term when talking about cable such as Cat5e cable. And when you're searching online for it, those are the two terms are most likely to lead you to purchase options. Understanding STP, UTP, etc... is how you get to the version of the cable you're looking for.
What are you supposed to do if you pressed no initially to get separate tracks and now you don't get the option?
Thank you for sharing this. Two questions if you would be kind enough to answer. 1st) If you spent five years or so doing what you enjoy...and suddenly stop...do you think it would mess with you also? 2nd) Are you able to wear any sort of earplug while doing this sort of thing? at any point.
Awesome video. Summarizes a lot of the thoughts I've had over the years. It's definitely going in my Sound info playlist.
Glad it was helpful!
Hello sir How to make a FOH and MOH connection Create a video
My guru Mr. Alan, on your video, step 1 is to pull up the vocal channel level first on a monitor 1 (for example), then select FX1 (reverb) channel, then go to SENDS, then pull up the level on monitor 1. My question is, if I have others like guitars, other singers, drums in that monitor 1, this means sending FX1 reverb on monitor 1 will affect all others in that monitor correct? What if I only want just the vocals to have reverb in monitor 1 and not the others? thank you!
Yes... if I'm reading you correctly you are grasping what is happening exactly. IF a musician has a mix of all vocals in their monitor mix, then it's probably not going to hurt or be distractingly noticeable if you add reverb and it ends up being heard on all the vocals in that mix. But, as it sounds like you are surmising... what about the singer that wants almost only themselves, or nothing but themselves in their mix? Bringing up that verb will then have 'ghost reverbs' or 'ghost signals' showing up in his/her mix. Now, it's possible that's STILL OK.... And it's also very possible the singer will HATE it because they simply don't want to hear that much of the other vocalists, if at all. Whether it's just ghost reverb and no dry signal or not. In that case, you need to follow the section of the video that is talking about a dedicated reverb for monitors. A reverb that you dedicate to ONE person and primarily for only their mix. Although, no law says that if someone who is taking the lead vocal in their own mix can't ask for and get a bit of that dedicated lead vocal reverb too. Obviously, you lose an FX rack slot to have a dedicated monitor reverb. And if you have MULTIPLE people that want no ghost reverbs, but want reverb, then you have to dedicate a separate reverb for each of them, until you run out of FX slots in the FX rack that can handle reverb. IF you're using a dedicated monitor console, this can be more manageable. Odds are you won't have a full band that needs a dedicated monitor reverb for each of them anyway. So, with no verbs needed for FOH, you probably have the tools to get by, maybe exactly or definitely with a bit of compromise. But if the console is doing FOH and Mons from FOH, then it gets more limiting. You almost definitely will want to utilize 1 or more FX rack slots for a FOH reverb. And IF the ghost reverb scenario is too distracting for too many musicians, you are kind of painted into a corner much quicker than you would be on a dedicated monitor console setup.
@@AlanHamiltonAudio Thank you thank you thank you my guru! I totally understand now that adding reverb on monitor 1, will be ok for vocals because we add the same reverb anyway for both vocals (male/female duo). I remember now how this question came up, it was because the guitarists are using a modeler (quad cortex) and they have reverbs in their patches already. So if I send the guitars to monitor 1 for example, they already have reverb by themselves. So when I start adding FX1 reverb to vocals on monitor 1, then my worry is that it will now add more reverb to the guitars that has already reverb in them to begin with, then now it's too much reverb on the guitars. Same with the drums, if I send FX reverb to monitor 1 for vocals, then the drums will get the reverb as well. It may or may not sound good. I will look again on your video about dedicated reverb. I think what I'm trying to do is to find a way that in monitor 1, ONLY THE VOCALS get's the reverb and not the other instruments that are being sent to monitor 1 as well. Thank you guru!
Your videos are the absolute best! Keep up the good work sir.
Thank you! :)
Hi Alan, I'm still confuse for routing on user output Would you give me the example how to route using user output for the case of: 1. Output 1-8 - AES50A -> Bus 1-8 2. Output 9 - Local -> Matrix 1 3. Output 10 - Local -> Matrix 2 4. Output 11 - AES50A -> Bus 9 5. Output 12 - AES50A -> Bus 10 6. Output 13 - Local -> Bus 11 7. Output 14 - Local -> Mono Sub 8. Output 15 & 16 - Local -> Main LR
It's kind of hard to do without having it all in front of me... But did you watch the User Input routing video? The concept is basically the same if it's just a matter of understanding the concept(s) you need to follow to make it work: kzread.info/dash/bejne/eH6ssLORqsXOlLQ.html
@@AlanHamiltonAudio Thx
It's looks perfect for church so how may I able to get the product
I don't remember the link offhand but if you scroll thru the video text description, there are link(s) there.
Hello : I have a little mixer question for ya. I have a small mixer for my live performance percussion playing. The mixer has fx but once you choose an effect, that’s what goes to all the channels and you can only control how much or how little. I need to put multi fx on all channels and on some of the channels, I need different fx than the other channels. How can I achieve this ? Is there a live performing mixer that can do this or do I need to chain pedals together and connect to the aux send of the mixer ? ( I need a small mixer that can handle my 6 mic inputs.) I would love to be able to put a simple reverb on say…my congas, but then a flanged wilder reverb on my timbale. Those are the kind of things I’m trying to achieve while playing live. Thanks for your help !
You're probably not going to find an analog mixer that fits the bill. They're just going to have one reverb or FX option and that is that. Otherwise, you'd need to get an analog mixer that has (post fader) aux outputs and buy external FX for the different effects you're wanting. So if you want 3 different FX you'd need 3 post fader aux sends on the channels, and 3 different external rackmount FX. Probably, by the time you put all that together you could've just bought a small digital mixer that would've had the FX all built in. Something like the Behringer XR18 (or Midas MR18) has 16 mic pres, 2 stereo inputs, 8 outputs, and a 4 slot stereo FX rack. So that means you'd have four FX slots to use any of the built in FX. You can get other digital consoles in the X-Air range that have less channels and outputs, but that same 4 slot FX rack. You'd need to use a tablet or laptop to control these. And there are other things like the Midas M32R or Behringer Compact that DO have a surface if you prefer not to use a laptop or tablet. Soundcraft, QSC, Yamaha all have small digital format consoles. Some with surfaces and some you'd need to use a laptop or table for. You'd just have to research the various ones to see what one best meets your needs. The gist of it is, a digital console with a four slot FX rack will give you the ability to have 4 different FX that you can apply independently to your percussion. This video is made for different reasons, but it should give you a clear picture of how the FX rack works and you can expand that knowledge to any options you look at: kzread.info/dash/bejne/hopppc6Bj7C9org.html
HI everybody... I've been using a lot the SD9 Digico for big bands with 6 different singer at the same time doing lead vocals one after the other, sometimes in the same song. And to me, there's nothing better than a multi band compresor to shape the sub group Imake for all voices. The best solution that gives a multiband comp on voices is to calm the proximity FX of talking and singing very close to the mic. If you EQ to take out those 200/600hz of dark and disturbing low end, then you have a problem later on when he/she is singing with much more volume (to reach hi chest notes or 80's tenor powerfull epic notes) and get naturaly apart from the mic, because then, the voice is loosing to much body because suddenly, your EQ, plus the fact that they moves away from the mic and lose more of those same frecuencys you've EQed off, make the voice losing all it`s body and seems very far away. So, calming down the low end of the voice when talking and singing very close to the mic by compresing that range of frecuencys with a multiband compresor make the voice maintaining it's good lead voice body even when they get apart from the mic. actually, this one of the main difference between the studio and the live ( sm 58 vs U87). So in a few weeks I'll use the Midas M32 for the first time on live and will try to get that combinador tool to get the same result...I'll tell yo how it went....bye
Amazing, thanks!
Thank you too!
I’ve been looking all over for Z bars! Where is the best place to hunt those down?
I found this contact info: [email protected]
@@AlanHamiltonAudio thank you!
Show your Eq
If you look on the channel video list there are a few videos showing my EQ techniques on drums. There's even a playlist with several drum videos in it.
As a MR18 user I love these super helpful videos. On this one though I'm confused by the use of the global setting. In simple terms the term 'global' puts me off because I assume the setting affects everything. Just the thought of applying any change to everything seems like a non-starter. What am I missing here? How can you apply a change to everything without making unintended changes? If the global setting is somehow limited when used in context, what's the limiting factor and why then do they use the term 'global'? Thanks.
The global setting only applies to the tap points of the channel sends. This video talks about tap points: kzread.info/dash/bejne/momsuKOFhLSZgNI.html It doesn't include anything else to do with the channel sends. For example: if you have a channel send set at unity, the global option won't set every channel send to unity. It's just the tap points (sometimes called 'pick points') that it will allow you to set globally. The meaning goes back to the signal chain and the point where a send is 'tapping' or 'picking' the signal from within the chain. It also works only on one bus send (channel send) at time. If you turn global on, and then change the bus 1 send to post fader, it'll only globally change all channels on bus 1 to post fader. It won't change bus 2, bus 3, bus 4... etc... It's only globally across just that single bus (that you choose), but on each channel. So with that in mind, when you look at a typical console setup, the channel sends (TYPICALLY) will match, from one channel to the next (not necessarily bus 1 to bus 2, but bus 1 of one channel to bus 1 of the other channels... bus 2 to bus 2 of the other channels). For example, if bus 1 is a monitor send on channel 1, then it'll be a monitor send across the board. And if you're doing monitors from FOH, it'll be at some point "pre-fader". So it makes sense to turn "global" 'on' and then when you set bus 1 to be a pre-fader tap point, it'll set EVERY bus 1 (channel send) on each channel to match and be that same pre-fader tap point. Or maybe you're creating a stream mix on bus 6. One technique is to use POST-Fader for a stream mix so that it'll follow you're channel fader moves (which you don't want happening with monitors... normally). You can set the baseline mix on bus 6 on each channel at whatever makes a good 'normal' balance. Then, when a guitarist takes a lead, or your lead singer switches to another performer, when you bring the fader up it will also bring that post fader channel send up. So, again, knowing that you want every bus 6 (channel send 6) to be Post Fader, it makes more sense to do that globally. Change one channel, and ALL channels now have a Post-Fader bus 6. Same is true for subgroups... Let's say you want to make bus 5 a vocal subgroup. While, technically, you only HAVE to make bus 5 a subgroup on the vocal channels... If you set it globally so that bus 5 is a subgroup on ALL channels, then it can be overall less confusing and not as prone to accidents. Then you just unassign every channel from the vocal subgroup EXCEPT the vocals (or vice versa). So, MOST of the time IMO, you'll want global. But there's a good reason they give you a channel by channel way to change that. Maybe for some specific reason you want a single channel to not follow the norm. Example: You have tracks on channel 16. You WANT the tracks to fade out in the monitors when you fade the channel fader. That way, the crowd isn't hearing the tracks in the monitors droning on at full volume when you faded them in the house. To allow that not to happen, you set the monitor sends only on channel 16 to be POST fader. Now they'll follow what the channel fader does.
@@AlanHamiltonAudio Thanks for the great explanation. I'm learning (obviously) and it seemed like one of those things where I might know just enough to be dangerous. Frankly, like many things, it will take some time and doing it for it to sink in. Meanwhile I'll keep your explanation handy for when I'm unsure. Thank you very much.
спасиибо за подробное видео, помогло разобраться!!)
Thanks I wondered about that.
What would cause a stereo device to sound fine in the main mix, but sound like a polarity issue on another set of aux sends?
My first thought is something wrong with the cabling/adapters on the aux sends. I don't know if you might see something in this video talking about balanced and unbalanced lines and mixing them that might lead to an answer or not. kzread.info/dash/bejne/h52V19l_danLj84.html
Can I puta aux fed sub and main faders on a DCA? So I can control both volumes with one fader. Thanks
Yes, but probably not like you're thinking... But still in a way that will get the job done. Since an aux fed sub will be Post-Fader channel sends, then just dedicate one DCA to EVERY channel. Call that your 'master' DCA. So you still need to first set your aux fed sub bus main and the main L-R to have the proper balance between them. If the system balance/gain staging is 100% dialed in, then that would just be unity for both the sub bus and the main L-R. But reality might rear its head and the ideal be something other than matching unity for the two outputs. Whatever it is, get that set, then assign the channels to you "Master" DCA. Or alternatively, you can assign all the channels to the DCA from the start and just put the DCA at unity as your first step. Then dial in your final balance... leaving the sub main and L-R main faders set at whatever you determine that is. Then leave those alone from that point and use that 'master' DCA for your single fader master volume control. Since the channel sub aux/sends are post fader, the DCA will be controlling those at the channel level. And that's what you want anyway.
@@AlanHamiltonAudio Thanks. That’s what I’ll do. You’re the Man Alan
It's that mixer power mixer we're don't kneed amplifier that's what I'm searching for just hard fine quality like you testing sound sound good what nane brand did you have mixer bord
It's unpowered. It's a midas M32.
Might be a bit of a duh question, but if you use it as an audio interface, can you just record the whole mix or can you record several inputs separately? I'd like to use it to record guitar, bass and drums at the same time, but each in different tacks so I can edit them later in the DAW. Any experience on latency using software guitar amps and monitoring with headphones plugged in the xr18?
Definitely can record individual tracks. It's 18x18. So you can record 18 tracks from the XR18. You can choose whether to send the inputs directly to the DAW, or you can sub-mix some things into subgroups and send a combination of subgroups and individual channels into the DAW. If you did happen to want to record just a stereo mix, you'd just go into the USB routing and assign the main L-R outputs to also feed a couple of USB outs... like USB 1 and USB 2 (for example). Essentially, you have 18 USB outputs you can assign in the routing to come from channels or buses. This is an older video I have on the channel, but it explains how to connect Reaper to the XR18/MR18 and record individual tracks. Any DAW will be essentially the same: kzread.info/dash/bejne/qo2hrKmyotK8lZM.html
@@AlanHamiltonAudio Thanks a lot! Very helpful :)
great video. one question , why two channel for bass and two for guitar ?
Thanks for this video. one question : Why two Chanells for the bass and two for the guitar ?
Been a while since the show... But there are two guitar players in the band. Wasn't it just one mic for each guitar player? I don't recall a stereo guitar rig, just Marshalls and a pretty straight-forward connection for each player. That would mean just using two SM57's. One for each rig. Was it more than that? If so I'd need to dig a little deeper and try and remember what they were doing. As for the bass, we took a DI line before the amp for a nice, clean signal, particularly for the low-end it provided, and blended that with the mic'ed amp to capture the sound of his speakers (Ampeg SVT if I recall correctly). So it made for a nice out front bass sound when combined. I'm sure I rolled the lows off the mic on the bass. I wanted it to capture the grit and character of the bass sound. They have a really good sound onstage between their Marshalls and the bass and I wanted to make sure and replicate that first and foremost and be true to the material.
Niicceee!! I never use the DCA feature on the boards i work with. But this definitely looks like a good reason to do so now! Thanks!
Me just noticing this video is 3 years old. lol. *facepalm*
LOL! Better late than never... ;)
Hello! Could you help me? When I select OUT 1-2 in Windows, nothing can be heard through the headphones, what configuration am I missing? I already installed the drivers and in the Daw and xair app you can hear through the headphones but when I play youtube, for example, no.
Hi Alan, as former AV consultant/designer and owner of an XR-18 mixer, I always enjoy and appreciate your XR-18 videos. I am not sure if you are familiar with Midas IEQ Pro (App for tablet). This program allows users to auto equalize the main “house EQ” with pink noise and a measuring mic. It would be great to have you review and explain this product in your typical clear manner. Best regards, Christian
Wow! Massive improvement!
The layout in xair looks like a game from the 80s compared to the menu in soundcraft ui 24 ;)
Or is that 100hz of low cut?
So for mid/high boxes on kick I should use high cut down to say 100hz? Or close
That sounds like a good ballpark place to work from.
Hi, i am new in Midas mr18. what is the function of USB send ? I want to use midas mr18 as an interface to use Zoom classes and want to connect a few mics to communicate through zoom. Can you please assist here ? Thanks
You should be able to do that. Just change the USB (output) routing to match what Zoom wants... Probably USB1 and USB2 sending L-R to Zoom. I have a video about livestreaming with the XR18/MR18 and OBS here on the channel. I'm sure that info probably translates to the Zoom connections. kzread.info/dash/bejne/k4KgpLGImLrIito.html
How should the kick channel fader and EQ be set for mains LR when the kick is sent to bus 6/subs
Assuming the system is balanced correctly (lows/mids/highs) then the Main L-R fader and the bus 6 main fader should match. That way, anything you want in the subs, if you put it at unity on the channel, should sound perfectly balanced in the PA. To really get a feel for it, assuming you don't have any measurement tools, use your WAV/MP3/CD Player with the sub set at unity on a channel (or channels for stereo)... And listen to the system balance first. If you notice that makes the subs too hot, or they're not hot enough... adjust at the amps/speakers. Whether you'd want to cut the level of the tops if you need more subs, in balance, or just raise the subs would depend on how hard you're already driving them. Just balance things and keep them out of heavy clipping. A workaround for essentially needing two master faders (on the X-Air stuff)... a sub and a main L/R... is once you have the balance at the amp/speakers/processor within a good window and sounding good and the mixer Main LR and sub fader is at unity- Assign EVERY channel to an unused DCA. Since your channel sends for your sub should be post-fader typically, that means that this DCA becomes your defacto main for everything. So one master fader. Of course it's not that big of deal to just adjust the 2 faders if you need that DCA for something else... but it is a way to have a single master control on the X-Air stuff.
@@AlanHamiltonAudio I love your channel, I believe I’ve watched most of your videos multiple times in my opinion you explain everything better than anyone else I’ve seen yet! Thanks for all you do. Keep up the good work!!!
@@timothyclinton8644 Thanks! :)
line arrays the way to go ❌ line arrays the only way to go ✅
There's something I can't seem to understand about how the effects are routed on XR18 that I wanted your help. I do understand the function of the FX send faders for each channel under the sends tab, this is how much of my dry signal will be routed to the FX processor. Then I also understan the function of the main fader (all the way to the right) of each FX return channel (those you set to unity in your video). Then I also understand the FX return faders set to unity on Main LR Layer to allow wet signal to return to Main LR output (which I suppose it's true for each Aux output as well). What I was not able to understand yet is what is the function of the FX return Faders (last 4 on the right) when I have either FX layer selected. (As I reflect on my question and read some of your responses, I realize) Would that be related to your answer to @CG-gp2bh where you explain that the FX return channel would be sending it's own signal back to itself? If that's the answer, this means that these 4 faders should be set to minus infinity for each FX layer to avoid issues, correct? This seems to be an important topic to cover in one of your videos, because people could easily be turning those faders up and having feedback nightmares. Also, is there a situation you see where you would turn up these 4 last faders?
The FX return channels are what allow you to send the reverb/FX to places you want to hear it. IOW, if you want to hear reverb on the vocals in the mains, then you have to bring the reverb FX return fader up AND have it assigned to main (which it is by default assigned to main). This way you hear the FX you put on the vocals in the mains. Otherwise, there's no path to the mains in a typical scenario. Essentially, the FX Returns are just console input channels. In this case, with the 'output' of the FX 'hardwired' to the input of an FX Return. Or probably easier to remember that by calling it an FX Return channel. This is also how you send an effect to the monitors. And by the same token, turning OFF the main-LR assignment on that FX return would take it out of the house so that it's only being sent to whatever monitor sends you're sending the reverb/FX too. Which you'd choose by turning up the monitor send on the FX return channel. Just like you would for a vocal channel. Or a keyboard channel. The way you'd create a feedback loop is if you were on an FX return channel, went to its 'own' FX send on that channel (FX return channel), and turned it up (turned up the channel FX send on the FX Return channel). Therefore, sending it back to itself.
If I am at a small festival like this and show up with my own MR18 (for IEM and multitrack recording) rig (with ART S8 splitters to connect our guitars, mics, keys, drums into FOH stage box), is this a standard situation that the FOH engineer will be OK with? It also seems like setting up mics could take more time than allotted? Any suggestions?
So this is 100% a recording rig and isn't providing the band's IEMs/monitors? You're providing mics, stands, cables, etc... and splitter... but you still need the provider to provide monitors as well as FOH rig (obviously)? That does change the equation a bit... but I'm not sure if that is what you're asking either.
@@AlanHamiltonAudio Thanks, yes, this is what I was asking. I appreciate your videos and expert advice. Getting a nice recording of shows in multitrack format seems to require quite a bit of prep with running all mics into the splitter. I guess with all that prep work, makes sense to make some in-ears available to give options to the band in addition to the FOH engineer on the stage monitors.
@@AdamWhiteAcupuncture Yes, adding IEMs to the package would make it make a whole lot more sense to the provider. In that case, not only are you supplying your own mics and probably cables, but you're taking the responsibility of mixing monitors off the provider's plate. And being a traveling rig, it's likely already mostly dialed in for the ears and just needs a few tweaks and you're band is ready to roll. So, not only less trouble for the provider, but less time overall. BUT... if it's just about recording... then the provider will still have to do everything they would've done anyway, AND accommodate for the recording rig. They might be less enthusiastic about that, because it's more or less putting more on their plate and another place things can go wrong in the signal chain. Things could still go wrong even if it's doing ears too... But then there's more margin of error to chase it down because it's not taking time away from the provider getting THEIR monitor rig ready for the band versus just troubleshooting a mis-patch or noise. Also, with the rig doing IEMs, if there's a mispatch, it's kind of easy troubleshooting to find it... If FOH has kick on the snare line it's easy to figure out what got off by a quick process of elimination. But what if FOH and house monitors are wrong but the bands recording rig is 'right'? Or vice versa. Lots more to troubleshoot including something that's not even the provider's equipment. Soooo while most people would still accommodate and patch the recording rig in, especially if it was advanced days or weeks beforehand with the sound company, there will be resistance by some. And circumstances where it's maybe just not feasible due to lack of time for mistakes and lots of bands to move on and off the stage. Maybe in cases even where it was advanced, but the show day has had issues and the schedule gets tightened to keep it all on the rails. Definitely, incorporating IEMS into the equation is going to meet the least resistance.
@@AlanHamiltonAudio Thank you for putting perspective on recording with and without IEMs and the potential burden on FOH and pushback I might expect. I have considered a hybrid where FOH does stage monitors and one or two band members use our IEMs, but this sounds like it might be a big headache with more chances of miscommunication and failure. The easiest solution seems to be to get either a stereo out of FOH or multitrack out from FOH to send to our recording device/software (usually Logic). I imagine this might be somewhat customary. It seems that many venues use the Midas M32, so I believe that has either a USB out, USB stick port, or internal recorder. Thank you for your input, I understand that IEMs plus recording will be greeted more warmly by the sound man/engineer for the reasons you have stated. Incidentally, I was at a show yesterday and 10 feet back from the stage peaks reached 108 dB!
Behringer go out of their way to make things complicated. Why would you call a monitor send a aux on the unit, group them all together under the name, sends, and then call them buses? This is just bad design.
I've never been a fan of subs under stages; just seems like it makes the low end noisy and turns the entire stage into something resembling a giant vibrating drumhead. What's been your experience with different sub placements?
Lots of variables and it seems like it's always a moving target for compromises for any number of reasons. For this show, under the stage is the only real option. Nobody would want them on the stage wings. Besides aesthetics and sightlines, there could be boundary reflections/cancellations from being 4' off the floor. And with them on the wings there'd be the center power alley, and the side nulls to contend with. Moving them under the stage, but spread wide eliminates the boundary reflections, but keeps the power alley and side nulls. Bringing them in front of the stage in this case is a 'no go' because of the position of the barricade and front row. Simply no room. So, in a line, arced by delay modelled out to be a good alternative for the room, and also has proven to work well. Flying is not an option with these subs or the way the room and stage work as far as rigging points go. Even if the subs were flyable, we still couldn't fly them here. In some situations cardioid deployments are going to work. But the cookie cutter deployment for cardioid doesn't work here due to logistics like I mentioned above. I have some more boxes now so I might take a look at the modelling in some different configurations for cardioid deployments... but the current deployment is working really well for this room with the subs in a horizontal line and arced via delay. When you start working on the issue of the subs vibrating the stage it's not really what you might think. Sure, it can do that... But look at the wavelength at 40Hz. It's approx. 28'. Moving the subs 5' forward isn't going to make any difference at all as to 40Hz vibrating the stage. Even at 80Hz, it's still like 14'. Even moving them out 10' isn't going to make any difference. The stage is going to get vibrated if the subs are within any practical distance to the stage. The waveforms down there are just too long for it not to happen in standard configurations. But that said, it's also down to the weight, construction/design/bracing and ability of the decks to vibrate in the first place.
@@AlanHamiltonAudio Yeah, there's a lot to consider (frankly, a lot of the factors of reflection and cancellation are above my head at this point). I'm guessing any kind of cardioid configuration with subs would help with issues you'd get with having subs under the stage (or near the stage) that are just left omnidirectional, correct? That's pretty much all I've experienced with subs under the stage: omnidirectional ones that cause issues with floor tom feedback due to the stage vibrating at whatever frequency the fundamental of the floor tom is at. That and the low end just ends up sounding noisy rather than tight.
@@GamingDrummer89 Also, as you couple subs into a line they become more directional. I don't think subs under the stage or not should cause feedback on a floor tom mic, or anywhere else, unless the system is not properly deployed and configured. I'd bet wherever that happened if you just stood silently onstage and brought an open vocal mic up, set flat on the channel strip, that same feedback would begin to happen. And there'd be nothing really vibrating the stage to start that low ringing. IOW, you might feel the lows vibrating the stage when you hear the feedback, but it's not the lows vibrating the stage that is causing the feedback. That would be a symptom, not a cause, in that case. Honestly, a lot of times low feedback heard on the kick or floor toms is really a product of the vocal mics being ran without a HPF engaged (and/or engaged at a proper point... ie: 100Hz... 125Hz... Not 20Hz). Or else vocal mics with lows turned up. So the kick or floor tom being hit triggers it, and cutting lows on the kick or floor tom can cause it to stop, but it was the vocal mics that were creating the feedback loop by what they were 'hearing'. Cutting lows in the drums just reduced the lows the vocal mics were hearing. At least this is one way low-end feedback can me misdiagnosed, and even 'fixed', but it wasn't really fixed right because the drum sound suffered in that case. This is a really good guide about subwoofer placement and different techniques. It's made by EV but it's applicable to any subs in general. electrovoice.com/media/downloads/wp_subwoofer_arrays_v04.pdf
@@AlanHamiltonAudio The system at my church exhibits the feedback thing, and we've had to gate the floor tom fairly heavily as a result. The way the system was originally set up was done quite poorly, and in fact, the subs are low quality (can't even find the manufacturer or product online anymore) and the crossover to them is set between 180 and 200 rather than between 80 and 100 like it should be. The vocal mics are all cut on the low end between 120 and 180 (depending on the singer), and we've seen the source of the feedback come through the floor tom channel itself even with no vocal mics on the stage, so it's not the vocal mics in our case. It's really a mess that we're having to deal with one issue at a time. If money was no object we'd probably just tear the whole system down and hire a reputable company to set it up with better speakers, settings, positioning, etc.
That insert button on the FX page was my issue! Couldn't get the reverb to work properly. This vid fixed it! Thanks!
Cool! Glad it helped! :)
One thing I've learnt about Behringer is not to watch their tutorial videos. They are terrible. Missing information and important steps in using their equipment.
I try to make videos that answer questions I see floating around the forums, or misconceptions. Then I hope I don't forget something in the process! ;)
Question: Instead of plugging your guitar and amp in separate to the direct box, can you plug the guitar into the amp and then only plug the amp into the direct box? Asking because my amp has special sound features I'd like the guitar to sound like. If you CAN do this, do you plug the amp into the "in" or the "out/thru" slot? Thank you.
A few considerations here... What amp do you have? I'll look it up and see if I can better answer the question specifically. In general, some amps will have a DI built in. It will have a PRE/POST button. If you engage the POST button then it will send a mic level signal out the XLR that you just connect a mic line to and feed your PA. No external DI needed. Now, whether that post-preamp output sounds like you think it will straight into the PA vs what you hear coming out of the amp speakers is a different question. It's also possibly your amp has a 1/4" line output that is after the preamp. You COULD run that into a DI to create a balanced mic line output, or if it's already a balanced (TRS) 1/4" output then you could use a TRS to XLR cable and skip the DI. You'd be hitting the PA with a line level signal (versus mic level) but just turn the gain down on the channel and it should be fine. Barring all of those options, SOME DI's have a PAD that enables you to connect the DI directly into a speaker output from your amp. Look at the DI's specs to see if it can accept a speaker level input. As for whether to connect to the 1/4" INPUT or the 1/4" OUT/THRU... Shhhh It doesn't matter ;) The In and the out/thru are all typically just parallel connections. They just label them to reduce confusion and questions. Either can serve as the IN or the OUT/Thru and they can be used interchangeably.
Hi Alan. Do you notice any drum shell construction techniques that routinely yield the best results in a mix? If so, what are your preferences to work with, and why? For example solid ply steam bent shells. Or perhaps multi-ply wood shells. Do you prefer brighter sounding drum shells or shells with more resonance and complexity? I know what my preferences are but I don’t have too many professional audio engineers to bounce my ideas off of. I prefer darker tone woods generally such as walnut or beechwood. Cherry is quite nice as well in some instances. I also prefer solid shell drums over anything else. Although I am getting turned on to Noble & Cooley’s alloy classic snares of late. Ludwig makes a phenomenal solid brass snare as well. Correct me if I am wrong here. Guitarists talk about how great gear played by a less skilled player will only serve to highlight their shortcomings. Do you find the same to be true for drummers? Thanks Alan! 🤘🏽
It's funny because I can mic and set up a drum mix for a drummer. Then someone else in the band plays that same kit, or they get a guest drummer up, even people that are technically very good themselves... and it never sounds the same. Same drums. Same tuning. Same mics. Same processing. Different drummer = different sound/mix. Dynamics, attack, probably even just the angle and way they hold their sticks... all makes a huge difference. Especially, to the person behind the desk. Maybe not as much to the audience. Although, I'd say in many cases, even then they notice it too. Of course, there's a good chance a few tweaks could rebalance things well enough to keep it from being a distraction. And then a reset when the band drummer switches back in. Now, obviously, if someone is inconsistent in how they play within the dynamics of the material, not confident in their timing, etc... then they're not going to sound good even on good drums (iow: Well-tuned). One thing that always surprises me, though I don't see this as much anymore, but it is older drummers with the drums ultra-muted. 60's and 70's style kits. Front kick head off and just stuffed full of bankets/pillows. Drums that are the opposite of 'resonant'. If their playing is confident and consistent, I can generally get the kit to sound pretty good. Even if onstage their kit sounds dead. I might rather work with that than a more open kit in the hands of a less experienced drummer who maybe hasn't learned to tune the kit, nor play it with confidence. So, long story short, I don't tend to notice the difference in drum materials as much as simply the differences in drummers and their approach to the kit and style. I'm sure I'd notice if the same drummer switched out his brass snare for a wooden marching snare during the gig, but I'm talking comparing the kit of one drummer from a month ago to a different drummer a week ago with an entirely different kit. The drummer makes too big of a difference overall to the drum sound. From tuning to attack and style. So, the piece of hardware that probably makes the biggest difference to a drum sound is the nut on the drum throne! ;)
I’m happy to hear you say this. It helps me realize that success is actually within reach for any of us drummers out there. We are in control of how much we practice. We can choose to further our music education. We can practice tuning techniques, stick control exercises, ear training, sight reading, etc. And also work on being a good hang around other professionals who are there to help us look and sound better than we are. Somehow hearing you say that it comes down to the individual drummer makes it feel manageable and attainable. So thank you for that. To be honest, especially in the early years I was all caught up in believing that it came down to the right gear and knowing the right people. I may have been partly right about making connections with the right people. But in terms of gear, it might not be nearly as central to a drummers success. Education matters more and same with being disciplined in a daily practice routine. I appreciate your insights, Alan. Thank you for your time.
Hi Alan. It would be amazing if you could do a tutorial on the Midas Dn 8416-o. Specifically how to use it in a IEM monitor application with the Xr 18 and how the stage connect option could possibly work so you don't have to use a fan snake from the outputs. Thank again. Love your tutorials
Thank you very much! Great help!
midas mr 18 saya kenapa tidak bisa terkoneksi ke pc ..padahal usb driver sudah terinstal ..mohon dibantu ..terimakasih
Great video! Just a suggestion - if you turn RTA on in the EQ settings you can see where your frequencies are for your tom
I am looking to adjust my vocals on a channel using the compressor. I can't find the compressor section on my iPad connection to the XR18. I don't have the same screen shown in your video. Is there a plug-in I need to download? Thanks.
I'm using X-Air Edit (with is available for PC and Mac). That is what has the compressor presets. Otherwise, I'm using Mixing Station which is available for Android and iPad. So that is the other software that you're seeing.
@@AlanHamiltonAudio Okay. Currently, I'm connecting my iPad via an Access Point. I have a laptop I can use. Once I download the X-Air Edit plugin, where do I connect my Cat 5 to the XR18, Ultra-Net or Remote? Thanks.
@@jm4videoable Remote (or you can use wifi). If it's at home/rehearsal, you can connect via the internal wifi instead. For gigs, and wifi, I'd buy a dual band router. Doesn't need to be overly expensive but the built in XR18 wifi is not very... ummmm... robust.
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Is it possible to add individual effects? So we can set effects for a mic but want to add different effect
Pretty standard as far as how you setup FX and what you can do with them. This video talks about the FX rack, how it works, plus some mistakes/misconceptions that exist: kzread.info/dash/bejne/hopppc6Bj7C9org.html
@@AlanHamiltonAudio thanks that helped