Відео

You can either send from one sub to the other if there is an output or through-put on the sub. You can also just route the same matrix mix to go out a second output so you have two unique outputs that share the same source. This would be done in Routing > Outs.

Yes, each channel (or BUS) has the channel strip with various options of Comp and EQ and there is an additional insert FX slot as well.

@@AllamHouse it's mean big different with X32. that you can't insert same fx in some channel.

There are two different 1/8” to 1-4” converters and various small extension cables. Make sure you have the stereo (TRS) ones in use and not the mono (TS) since that would only engage the left side. It should have two black lines on the connectors and not just one black line.

While you can go into the settings and make changes, I find that usually this is not necessary when the proper cables are used. The mic inputs on the ATEM Mini line of stream devices are setup with a TRS input which means both 1/8" inputs provide a stereo input. You do need to make sure you have the proper cable connecting the soundboard to the ATEM as the cable could have two 1/4" on one side, but the 1/8" head could be a mono (TS) head which would only give you a mono input to the ATEM. I hope this helps clarify.

@@AllamHouse I have all this set up and a TRS cable. It's been sending mono signal since I set it up... But I had to go into my ATEM software the pan left/right

Here are the things I would do: 1) Select the left Bus and confirm your other bus is linked. This provides a hard L/R pan setup for your buses and allows them to move and work together. 2) Toss some headphones into the headphone jack on the console and hit the SOLO button over your live stream bus. Confirm the "mono" button isn't pushed on the console (found in the monitor section) and make sure you are hearing a proper stereo signal in the headphones. 3) Go to Routing > Outs and confirm you have both buses set as sources for different outs. 4) If you are running XLR or using AUX outs, confirm your cables are plugged into the correct outputs and make sure the cables are set to provide a stereo signal. 5) At this point you have to look into the device on your streaming device to make sure it isn't summing your mix to mono thinking it is just a single mic. To help any further I would need to know what gear you are running for streaming and the cables you have to further troubleshoot, but hopefully the above steps get you in the right direction.

It is designed to handle both. Most people use it for live events, but it is also designed to be a DAW control surface and has a bunch of pre-programmed DAW connections in it already. It only has 8 XLR inputs, but that is usually enough to track drums and some smaller groups. You can grab a digital stage box to add more I/O.

Can’t tell if this is a happy or sad face, but let me know if you have a question or would like to offer feedback.

I wish I had an answer for you. This one keyboard is the only one I’ve taken apart to this extent. Typically they have weights inside like the one in this video and the weight might need to be replaced. Good luck with the repair.

This sounds like the Bus is set to go to the LR Bus. To fix this, select the Bus and look to the left of the screen and find the LR Bus (or Stereo Bus) button. If it is orange it will go to the LR and if it is not orange it will not go to the LR.

If the background music is coming in on the AUX in connections, you will need to add those (like any other input) to your live stream. In X32-edit, Select the BUS you are using for your stream, navigate on the left side to the AUX/FX layer and turn up the AUX in that has your background music. Let me know if this works or if you need further help.

I have tried this and this didnt work. Funny thing is the mixer is outputing the audio when i turn the solo button and monitor channel. However the USB cable connected to PC doesnt show that the music playing on the channel.

Keep in mind when this video was published… during the 2020 pandemic when there was no one in our venues and people needed a quick way to get audio to broadcast. I’m glad you found the video helpful. While this is a quick, easy way to get audio to a live stream you don’t have separate control over the mix for the house and stream or the volume output. I prefer to run a Post Fader MixBUS which you can find descriptions of in these two videos. The first is more about the routing to get it out USB and the second is a full walk through of how to refine your mix for the stream. Routing Setup: ua-cam.com/video/xGt1z5I7blQ/v-deo.html Refine Mix: ua-cam.com/video/pMnaiuC55RY/v-deo.html

My livestream mix is built on a MixBUS pair giving me a stereo mix. That mix doesn’t go anywhere except to my Matrix. The Matrix is then routed out of the console to my streaming device. The benefit is that I get to utilize more of the onboard effects to control my livestream mix.

Yes, the card settings will impact your SD card recorder. This video discusses the setup and things to consider when trying to livestream on ISB and multitrack record at the same time. ua-cam.com/video/Zb6ngDBuaDE/v-deo.htmlsi=WFhXkgTDh4DHGoYM

Thank you so much!!!

Yeah OBS is a nice open source solution and I have had very few issues with it over the years. I'm always looking for ways to minimize gear that is needed to handle our weekly services since we setup and teardown every week. With that in mind, shifting to ProPresenter made sense, but I think the hardware side of things is a better solution for us since the software is always going to have updates and bug fixes.

@@AllamHouse Yes, it would be nice to be able to do everything from one machine - but Pro 7 is just not stable enough, unfortunately.

I was using pro7 to stream to Resi and had the same speed problem with the audio. I we had purchased an ATEM CONSOLATION ONE ME HD PRODUCTION SWITCHER AND A RAY ENCODER AND THE PROBLEM HAS BEEN FIXED. NOW WE RETIRED PRO7 from live streaming and only does graphics now and video

Yes, if you send your Main mix to. matrix pair it will provide another inserted FX rack option. Then you can send your Matrix out to your PA for sound.

@@AllamHouse Essa mixagem e pra uma LIVE da igreja, sendo asism posso enviar uma copia do master para o Matrix e pego a matrix e envio para Vmix/OBS, certo?

Yes, you can send a main mix to a Matrix and then out to a livestream, but you don’t have separate control over the mix for the house and stream or the volume output. I prefer to run a Post Fader MixBUS which you can find descriptions of in these two videos. The first is more about the routing to get it out USB and the second is a full walk through of how to refine your mix for the stream. Routing Setup: ua-cam.com/video/xGt1z5I7blQ/v-deo.html Refine Mix: ua-cam.com/video/pMnaiuC55RY/v-deo.html

That is a great tip. I think if I was running a mixdown on the console for a 2-track I would have the space to use this setup. I'm going to give it a try later this week.

I'm glad you found it helpful. If you want to see the in-depth videos that include EQ, Comp and other settings you can roll through this playlist at this link. ua-cam.com/play/PLsW5UVUiB1ry8bnPJ5q8fR93KHW2TPKpg.html

The easiest way to run Ableton live is by setting it up like a virtual sound check and plugging the DAW into the console with a USB cable., You can then set your specific inputs on the console to bring in those tracks from Ableton (across the card). This video you watched pretty much guides you through this. If you only need a left and right signal from Ableton could be using a stereo DI box to take the headphone out from the computer into the DI and then feed two channels on your console. A larger version of this setup is to use something like a Focusrite or Motu device that takes USB signals from Ableton and then converts to 4-8 XLR outputs that you can run into the console like any other input. Let me know the exact setup you are trying to accomplish and I can point you in the right direction. Also, if you need one-on-one help I do handle consultations and we can talk about that individually if you go to my website and fill out my contact card. It will come directly to me and we can start that conversation.

Thanks for the encouragement. Let me know if you have other questions.

I’m happy to. Let me know if you have any questions.

Nice comment.

I always record off the main FOH console so I get an accurate representation of the inputs coming into my system. You can flip the inputs on the FOH console to take in the recorded tracks and build your house mix with virtual sound check. This is pretty standard and it seems like you understand that side already. To get these tracks to flow to your broadcast mixer, you would need to change the send settings to be card on the FOH console. So , if you are sending. Your inputs out AES50a to your broadcast mix, they would normally be set to match your input settings. Once you change to inputs to card, you will have to switch these AES50a section to send the card inputs instead of your normal inputs. Make sure to flip the. Back before your live event so everything is back to normal.

I'm not sure which kit was used in the video, but typically it is best to get as many independent outputs as possible. Back in the early 2000's my church picked up the Roland TD-25 and it had 8 outs which was amazing for sound mixing/flexibility. I do prefer a stereo image when possible for the toms and overheads, but you would need 4 outs then...L - R - Kick - Snare. Another option is to run metals on one out and heads on another to give some more capability over just a stereo out of the entire kit. I also like to get dry signals to the board (if appropriate) and use the reverbs that I'm sending the rest of the instruments to fo a cohesive sound. In the end there is no right or wrong way to do it, but just test it different ways until you find something you like.

I'm glad you found it helpful.

Thanks for the feedback and encouragement. I will take the X32-edit idea to heart when dealing with particular settings or number values.

I'm glad this worked out and I'm hopeful you all can the results you are looking for on your stream. Hit me up with any future questions.

@@AllamHousehappy it worked out as well and I certainly will be sure to continue learning and continue asking questions as needed.

I just streamed through OBS this past weekend and just left my volume all the way up in the software. With a signal leaving the console in the -1 to -10 range you will have plenty of volume for your viewers.

@AllamHouse I had noticed at my local church that the audio is coming from the X32 from aux bus 5/6 from a matrix setup with a aux cable that is linked with one cable going to a Blackmagic hdmi switch board & the other cable is going to a magewell capture card connected to obs it's a weird setup & I noticed once I have a Precision Limiter enabled & obs input audio is set to -2.0 the audio will start getting distortions like it's clipping or something

Yeah, that setup does sound odd and could be streamlined for sure. You do have to work with OBS to make sure the levels are not too hot coming in or it will digitally clip and I find it best to make any needed changes on the soundboard so you can leave OBS at the "all the way up" setting. This is one less thing to troubleshoot in the future.

That is gonna be a sweet setup with lots of flexibility.

So, you can't send a Matrix to a Bus as they work the other way. You can send inputs to Buses and Buses to Matrix. Then the routing requires us to choose available options for sending out of the console. I personally use the Post Fader MixBus for my stream and below are a few videos that cover the top to bottom setup and a second video for the routing to get the mix out of the console. Routing Setup: ua-cam.com/video/xGt1z5I7blQ/v-deo.html Build/Refine Mix: ua-cam.com/video/pMnaiuC55RY/v-deo.html

I’m glad it helped. Let me know if you have other questions.

These cymbals still put out sound and volume it just has a much faster decay so they might not be the best option for those living options. Typically this is where an electric kit will come into play since you get the plastic cymbals that don't provide any resonance.

This is a simple fix. Find the Live Stream BUS (on either side of the console) and push the select button. Once you have the BUS selected you can push the "Stereo LR" (or LR Bus... depending on which console you have) button the is to the left of the screen. When it is orange it will send this mix to the FOH, but when it is not orange it will be fully functional and not go to the FOH. Let me know if you have other questions.

I'm happy to work with you. The best thing to do is go to my website and fill out the contact card on my website. sound.allamhouse.com

Yeah, if your walls are straight enough, you can just go over top with drywall. This one was clearly in rough shape.

Depending on the software you are working with, you can go into the properties and choose the file path for recordings to be saved.

This sounds like an interesting setup. Are the "Bass amps", mids, highs and full range all pertaining to your main house mix or are you doing something else creative with your setup?

Thanks for the encouragement and testimonial.

shoot me an email at allamhousesound at g m a i l . com

We have to be specific about the lingo we use here as it makes a difference for clarity and understanding. Many people will interchange the word BUS and AUX in terms of mixing, but there are also AUX ins/outs which are different. Hopefully this is helpful to you. If you have monitor mixes built on Bus 1/2 and they are leaving the console on XLR 1/2 there will be no issue with routing your Matrix mix to AUX 1/2. The XLR outs are separate settings from the AUX outs. If you have monitor mixes built on Bus 1/2 and they are leaving the console on 1/4" cables going out AUX 1/2 then you have already routed a mix to these specific outputs and you can not route your Matrix to these outputs. You would need to use some of the other AUX outputs 3-6 to be able to move forward without impacting your monitors.

Thanks for the encouragement.

Yes, I agree that the "follow LR" is a great option, but I also wanted to utilize the BUS only panning since this video is an educational device for their team. Originally I was going to make this video using X32 Edit but decided on the camera route since this group mostly uses the console. Maybe in the future I can setup another camera to grab the fine details.

Yeah, a well tuned system will provide more low end in the room and that is obviously not reflected in any recording. This is why I find it beneficial to run separate mixes for house and stream which gives the ability to compensate for these differences.

It is kind of personal preference. The P2’s take XLR input which is nice if you have to run really long distances, but the cost f three P2’s will cover the cost of the 8 channel headphone amp. I also like to consider the installation when making a decision about gear. I luck out because I rack mounted my headphone amp right under my digital snake so the connections were easy and clean. I then use analog snakes (sub snakes) to run from the digital snake to other parts of the stage and I bought ones that have TRS 1/4” returns which makes it easy to have the monitor sends pre-wired to the same spot that the instruments are plugging in their mics.

The MixBUS I used in this video should be set to Post Fader.

For each input you only get one EQ. You can use this to shape the color of the input (guitar in your example) and then send it to different locations. With this in mind, there are some other options to make your guitarist happy... keep in mind, we all deal with them for this same reason. (1) Set the Tap Point for this input to be "Pre EQ" going to the Monitor BUS. This will grab the input signal after the Gain and Mute, but before any gate, EQ or compression you apply to the specific channel. If you do this for only this guitar input on the guitar monitor Bus it will change the Bus setting from Pre Fader (or Post Fader) to "Custom". This is done easiest in X32-Edit, but can be handled in the console albeit with less finesse. (2) Set the channel strip EQ as desired for the monitor send and then send this signal to an additional BUS where you apply specific EQ as needed for the house. This new Bus becomes your send to FOH (make sure it is set to feed Main LR while removing the specific input channel from feeding the Main LR. This video here speaks to this concept in a similar fashion, but it is geared towards live stream ua-cam.com/video/1WPltFnKnhs/v-deo.html In regards to your FX returns you have a few options here as well. You can keep the reverb you have and treat it as a monitor only verb. You would want to make sure the FX return is not feeding your Main LR. This gives them control over their monitors and you can leave that FX Bus alone. You can then designate another FX rack specific to Front of House (FOH) and only interact with this one. Another option (assuming their monitors are Pre Fader) is to just continue using the existing reverb in FOH and just don't change the mix going into the BUS that feeds the FX rack. Having their monitors Pre Fader will allow them to adjust the amount of this FX going into their monitors while you can control the amount going to FOH and everyone is happy.

@@AllamHouse thank you so much for your thorough response!! I really appreciate it.

Thanks. It works really well when mixed properly.

Just seeing this now. The address is 4401 Hobbs Ln, Richmond, VA 23231

You're on the right path by setting your gain properly. Getting the right amount of gain into the console is the first step of a successful mix. The next step is to set your PA properly so your board can run at an efficient range on the faders (around the unity spot). You might need to re-tune your PA so the amplifiers are set to an appropriate level to support the needs of your room. Choir mics are always a challenge of "gain before feedback" and we tend to turn them up until they feedback and then dial the gain back a little. I also tend to use compression on these mics, but NO makeup gain so you are not raising the noise floor which can contribute to feedback as well. Depending on how much you need in the room you might be able to remove some from the Main LR mix to minimize feedback issues, but still have them available for your livestream.

Thanks for the encouragement and positive feedback. I'm glad you've found the videos helpful. Feel fre to offer any questions and I'll do my best to help you.

Can you recommend a DAW for windows doing church live stream? Beginner friendly.

I always gravitate towards Presonus Studio One as it has been the most user friendly in my experience. You have to buy the Artist version to be able to multitrack record and you can use their native plugins as well. This runs you about $150 and is super solid. If you want to use third party pliugins like Waves, UAD, etc you would need the Pro version which is like $250. Ableton is another one that many people use. I didn't particularly like that one as it is more geared towards people creating music and tracks. Reaper is another inexpensive DAW that people use as it runs $80 (I believe) and is fully functional. It was originally an open source platform so there is a lot of support for it and many videos around as well. Finally, Logic Pro is another paid DAW that many people use, but that is Mac based.

Two things to consider in this situation. (1) This type of setup is considered a Music Director (MD) mic and you would setup a regular mic that is removed from the Main Stereo BUS. This gets it into the console and not in your house mix. Any musicians could add this to their IEMs as desired… (2) Once it’s in the console you would have to have the channel solid into headphones or have a BUS with some mix plus that mic that you can solo. The challenge is you would have to wear headphones most of the time since you don’t know when they might try to communicate with you… unless you come up with hand signals or something else.

@@AllamHouse thank you for your feedback. i attempted this. works generally.( the mic is routed to the IEMs ok via bus mix) however the problem i am encountering is the mic was removed from main stero bus but i'm still hearing it coming through FOH .

If the mic is coming into the console as a regular input (not in the talkback slot on the back of the console) you will need to: (1) confirm the Stereo LR is turned off (2) confirm it is. It going to BUSes that might be set to the LR (3) confirm it isn’t going to any FX racks that are coming into the LR If you want to send a copy of your scene to me to look at, email it to allamhousesound@ g m a I l . c o m