This video is from a course where Jeff dives into every aspect of an analog mix including vocals, rhythm section and more. Check it out on MxU: app.getmxu.com/playlists/0fd85dc1 - Sign up for FREE today!
Well this is a gem! First of all, thank you for putting this video up. For the new generation watching this, you need to know that this Midas console was the Cadillac of mixing console back in that era. The patching Jeff is mentioning was real. If your church had the finance you had 31 band EQ for every output if not you dealt with 15 band. Also, the most common consoles were the Yamahas, soundcraft, A&H and high end shows used Midas consoles. The yamies were preferred for their flatter sound. Anyway, thank you Jeff, you’re a stud! 🫡
AND on any digital systems as well. Undergaining ruins S/N ratio and sampling depth, while overgaining causes hard clips that'll immediately trash the entire sound.
@@FOHGeek while that is true, playing with gain structure on an analogue desk can vastly change the entire sound systems color and response due to running analog audio at different levels thru the analog components of the system. I have been fortunate to have a 40 year career in pro audio as commercial recording studio owner (old school analog/two inch tape etc, gand into my current hybrid set up featuring a 56 ch Neve desk into my DAW) , and as a national touring engineer for a lot of top acts. I witnessed first hand thru the 1990s into the 2000s transition from analog to digital consoles and processors in touring live sound. While the sound systems up today, have a tendency to sound much more hi-fi, I don’t necessarily believe that they sound better. Nobody can deny the convenience and recall ability and the smaller footprint of a digital desk. well, they might sound hi-fi to my ears they don’t always sound warm or musical. Think about this for a second… The faders on an analog desk are resistive. Their job is NOT to turn stuff up so much as the faders job is to restrict the audio from going full blast. So when you’re mixing on an analog desk, you’re creating resistance going into the other analog components of the desk. While on a digital desk, they work in reverse. They don’t behave as resistive, but more as amplifying. This allows you to turn the source up into the other digital processing elements of the mixer in contrast to how an analog mixer works. That affects the sound of response. I’m a fan of both but for different reasons! It’s an awesome time to be an audio guy!
Most important is skill and tuning. That's what really makes a difference. Even the best micing technique won't make a huge difference when the source is lacking
Jeff, you are just Amazing lol! I'm continually in awe over how good you are at your craft. They say it takes 10,000 hours to become a professional at something, and it shows in you. -Nathan Robb
I love that desk. I looked at it for a very long time. I ended up with the Allen & Heath GL2400. I also love my console but if I had one regret... Le sigh... I absolutely work the way this video shows. Hybrid mixing is the best for me. I know I'm old school and I came from the world of mixing live music on an analog desk but it works for me
An A&H ML4000 was on sale for $500 two days ago. The add was gone before the end of the day. When I see someone selling an A&H GL2200 - 24ch for over $1500, I laugh. A dude has been trying to sell a Soundcraft Spirit 8 32ch for $1200 for over 2 years (he just keeps reposting the add and doesn't include the snake that's in the picture). SMH--he doesn't really want to sell it. Truth be told, there is a LOT of physical maintenance for analogue consoles!!
@@henryvanweeren7233I’ve been running a Soundcraft 2400 (modded with balanced I/O) and it does take a lot of maintenance but I love working on it. I’ve put on about 18 years on it, probably I’ve put in two or three grand worth of switches and capacitors into it. I use a Stephens 821b 24 track, so it”s all analogue there too.
I believe that is his approach and what sounds best to his hearing. I don't like it much either but I think the problem is that we're exposed to some certain sound that we like and expect every mix to follow that trend and that is wrong. Every mix becomes a signature etc so as long as I would like to hear a more modern, punchy and airy drum mix I don't think every sound should be that way.
It could be argued that having only one reverb is a good thing because it puts everything in the same room. You could argue that it will sound more natural that way. The real question is, what reverb are you using? I still use an SPX90 and Rev 5 on my LV1.
I think he's referring to the amount of gain applied by the console preamp on each track up to the second gree light (like he said)...I think he means that we should apply a certain amount of gain into the console to drive it...anyway drumsound is a bit boomy to my taste and those overheads mics were way too dark, lifeless.. peace
@@aurelienstefanetto1850 in my experience, more gain brings more room sound and harmonic distortion. I prefer to not clip preamp to have more transparent sounding channels. So all these can be saturated after with outboard gear or plugins. For me gain is like a pipe, it should be set to transfer quiet sounds above noise floor and not to clip peaks as much as possible
@@MichaelLenz1how do you say all this and then wonder what gain structure is? It’s just the total amount of gain across your system. After you gain structure, you then gain stage so you can set a healthy signal to noise ratio for the rest of your signal processing
This video is from a course where Jeff dives into every aspect of an analog mix including vocals, rhythm section and more.
Check it out on MxU: app.getmxu.com/playlists/0fd85dc1 - Sign up for FREE today!
Well this is a gem! First of all, thank you for putting this video up. For the new generation watching this, you need to know that this Midas console was the Cadillac of mixing console back in that era. The patching Jeff is mentioning was real. If your church had the finance you had 31 band EQ for every output if not you dealt with 15 band. Also, the most common consoles were the Yamahas, soundcraft, A&H and high end shows used Midas consoles. The yamies were preferred for their flatter sound. Anyway, thank you Jeff, you’re a stud! 🫡
Gain structure is EVERYTHING on an analog desk.
AND on any digital systems as well. Undergaining ruins S/N ratio and sampling depth, while overgaining causes hard clips that'll immediately trash the entire sound.
@@FOHGeek while that is true, playing with gain structure on an analogue desk can vastly change the entire sound systems color and response due to running analog audio at different levels thru the analog components of the system. I have been fortunate to have a 40 year career in pro audio as commercial recording studio owner (old school analog/two inch tape etc, gand into my current hybrid set up featuring a 56 ch Neve desk into my DAW) , and as a national touring engineer for a lot of top acts. I witnessed first hand thru the 1990s into the 2000s transition from analog to digital consoles and processors in touring live sound. While the sound systems up today, have a tendency to sound much more hi-fi, I don’t necessarily believe that they sound better. Nobody can deny the convenience and recall ability and the smaller footprint of a digital desk. well, they might sound hi-fi to my ears they don’t always sound warm or musical. Think about this for a second… The faders on an analog desk are resistive. Their job is NOT to turn stuff up so much as the faders job is to restrict the audio from going full blast. So when you’re mixing on an analog desk, you’re creating resistance going into the other analog components of the desk. While on a digital desk, they work in reverse. They don’t behave as resistive, but more as amplifying. This allows you to turn the source up into the other digital processing elements of the mixer in contrast to how an analog mixer works. That affects the sound of response. I’m a fan of both but for different reasons! It’s an awesome time to be an audio guy!
I think all of us need to learn how to mic and setup our instruments because they don’t sound like this at all
Most important is skill and tuning. That's what really makes a difference. Even the best micing technique won't make a huge difference when the source is lacking
Jeff, you are just Amazing lol! I'm continually in awe over how good you are at your craft. They say it takes 10,000 hours to become a professional at something, and it shows in you. -Nathan Robb
I get excited everytime I see a video with a midas analog console. I have a siena 400 in my studio!
I love that desk. I looked at it for a very long time. I ended up with the Allen & Heath GL2400. I also love my console but if I had one regret...
Le sigh... I absolutely work the way this video shows. Hybrid mixing is the best for me. I know I'm old school and I came from the world of mixing live music on an analog desk but it works for me
Thanks for easy explanation of complicated task. Good job.
This is a Verona 56…I bought a mint Siena 64 for my studio last year for all of $400. It’s insane how unloved big analog boards are anymore.
An A&H ML4000 was on sale for $500 two days ago. The add was gone before the end of the day.
When I see someone selling an A&H GL2200 - 24ch for over $1500, I laugh.
A dude has been trying to sell a Soundcraft Spirit 8 32ch for $1200 for over 2 years (he just keeps reposting the add and doesn't include the snake that's in the picture). SMH--he doesn't really want to sell it.
Truth be told, there is a LOT of physical maintenance for analogue consoles!!
@@henryvanweeren7233I’ve been running a Soundcraft 2400 (modded with balanced I/O) and it does take a lot of maintenance but I love working on it. I’ve put on about 18 years on it, probably I’ve put in two or three grand worth of switches and capacitors into it. I use a Stephens 821b 24 track, so it”s all analogue there too.
I picked up a 32 buss Soundcraft Series Five MON for our studio for $2,200.00 because someone wanted to get rid of it for an X32...... no joke.
This was fun seeing im using the exact midas board
Hey. Thanks so much for this video. I so needed it
cool I, got a Midas Venie 32 so this helps me on it thank you.
I love my Venice U32!
Loved this.. so used to gating ITB before i push it to my small console. What outboard comp/gate units are you using there?
This what I’ve looking fore
Actually in some consoles it does allow the eq to engage before a compressor and vice versa
Love this!!! 🎉
More please 🙏🏾
I find the drums sound very flat here; lacks the depth of sound.
Nice board is that a Verona? I have a 560 Verona its amazing
What does the snare sound like it’s a cardboard box? There is literally no high end snap…?
I believe that is his approach and what sounds best to his hearing. I don't like it much either but I think the problem is that we're exposed to some certain sound that we like and expect every mix to follow that trend and that is wrong. Every mix becomes a signature etc so as long as I would like to hear a more modern, punchy and airy drum mix I don't think every sound should be that way.
@@paapabeatz🎉 spot on
In a live situation it will work perfectly. This tonal characteristic usually is good idea for mixing high SPL live music
what is the playback machine used in this video?
It could be argued that having only one reverb is a good thing because it puts everything in the same room. You could argue that it will sound more natural that way. The real question is, what reverb are you using? I still use an SPX90 and Rev 5 on my LV1.
Powerful
Damage a board from too high signal? Ehh. Doubt it. What is the proof that happens?
drum kick is in stereo?
No, kick in and kick out. (Separate parts of the kick drum,each mono inputs)
I don't think I would want anything to do with those mixer since they got a "Gay Knob" 2:28 😂
what brand of the mixer
Midas, Verona or Siena, i have the 48 tracks Siena, amazing preamps, very musical Eq
It,s price
Why record analog when got stereo or digital 2024
Sound
Replay!!
Wtf is gain structure? All what I see here is eq, send to outboard gear, receive, parallel NY compression and balance between the tracks
I think he's referring to the amount of gain applied by the console preamp on each track up to the second gree light (like he said)...I think he means that we should apply a certain amount of gain into the console to drive it...anyway drumsound is a bit boomy to my taste and those overheads mics were way too dark, lifeless.. peace
@@aurelienstefanetto1850 in my experience, more gain brings more room sound and harmonic distortion. I prefer to not clip preamp to have more transparent sounding channels. So all these can be saturated after with outboard gear or plugins. For me gain is like a pipe, it should be set to transfer quiet sounds above noise floor and not to clip peaks as much as possible
@@MichaelLenz1 and that's why there are so many approaches to mixing. As long as you get the sound you're after, "rules" can be bent.
@@nunojorgenjstudio7954 well this not explains what gain structure actually is
@@MichaelLenz1how do you say all this and then wonder what gain structure is? It’s just the total amount of gain across your system.
After you gain structure, you then gain stage so you can set a healthy signal to noise ratio for the rest of your signal processing
Smith Robert Martinez Eric Lewis Timothy
Analog more like mono type
Hall Shirley Robinson Barbara Young Mark
Martin Angela Walker Melissa Perez Kenneth
Thompson William Clark Anna Walker Sarah
Harris Elizabeth Perez Kevin Miller Gary
Haha you knew we are mostly made up of drummers
Thompson Jessica Brown Nancy Anderson Matthew