For most male voices, a low cut that high would often cut the fundamental frequency they are singing, since the A below middle C is 220. An octave below that is 110. I suppose you might want to start rolling off a bit of that as you get real low if it gets boomy, but wow is that high to start cutting off.
Yes, Jake is wrong here! LOL. Simply cut out way too much. He's cutting literally ALL of his fundamentals up to where songs peak (about Eb above middle C). The MUD that you want to get rid of is a full octave below -- i.e. 175 and below on a male lead. In general, we'll set HPFs around 150 for Male lead, 180 for Tenors, 200 for Alto, 225 for Soprano -- for starting points. Adjust to taste. 4 Factors to consider: 1. How steep is the curve? 6dB/oct? 12dB/oct? 18db/oct? 2. How MUCH is being cut: 3dB? 6db? 10dB? 15dB? 3. How close the singer is to the mic. Is the singer eating the mic? Proximity effect is a real thing. It might be that Jake is cutting so high is because he eats the mic and has experienced a problem with proximity effect. I try to sing and train my singers at 1-2" away, so the natural sound is more balanced. 4. Reverb settings can affect the vocal low end. He mentions EQ-ing reverbs and cutting out lows there, which is good.
i think part of the reason he is wrong is the microphone he may think those are great mics but he shouldn’t have to cut out that much “boominess” good mics take care of that
Yes, thank you. Jake: hire a sound operator please. One cannot best serve their congregations audio needs from behind the FOH speakers, on stage, while also leading worship. We cannot and SHOULD not do it all. Find someone trustworthy and with experience to delegate the role of sound operator to. This may mean hiring out a professional. You’d be surprised at who God brings you and on how much it will change everyone’s worship experience for the better!! :)
@@lucasburkhalter9715 I think he's got some PA/room issues. I use M80's and M81's all the time, and NEVER have to high pass that high... I'm usually between 100-150 most of the time, depending on the vocal.
@@chaddonal4331 Bro... where did you learn all this??? i feel like knowing what db each note is at would make EQ'ing a lot easier. Is there videos where i can learn this ?
Telefunken makes great mics, for sure! Other considerations for Worship Leader Mics: Shure KSM9 -- perhaps the very best available. Outstanding Alternates: Audix VX-10 and Sennheiser 965. Great Worship Vocal Team mics: Audix OM-5 (OM-6, darker for women), Sennheiser 945 or 935, Shure Beta 87, Miktek PM9 -- Great mic with SuperCardioid pattern, if there is feedback concern. Best value mics ($100 range): SE V7 (outstanding on thinner voiced women). Sennheiser 835. Both these make every voice sound bigger. It's an awesome era for quality mic options!
To be honest I'd low cut to a little over 200 and then let a multi-band compressor handle that low-mid information on the vocal. But everyone's got their own methods. Good tips Jake!
great workflow intro for our new wing, thanks. I was told we were going to have a delay on the lead vox, not sure how we will set the tempo to each song, but I will watch for it. I am just operator during service and another guy is the setup guy & sound tech.
Very nice. We got the Wing the first week it launched. It was our first digital board and it didn’t have a proper documentation yet nor any tutorials, so we struggled a bit at first but figured it out. That said, thank you for your content Jake. I do learn from these and love it. And you do provoke new ideas.
Thanks bro. For your channel, your heart and your desire to help the church in this way. This kind of demonstration can be such a vulnerable experience. Especially because the internet can be pretty brutal sometimes lol. Regardless, your work has helped thousands of church techs and worship leaders, so thank you. For whatever it’s worth (which ain’t much) I do have some thoughts on the video. I’ll just list em out. Hopefully they’re helpful. - I’m sure your vocal sounds amazing in the room. But I wonder if because of your PA tuning you’re having to cut more in that low-mid range than you ought to. -I’d entertain the idea of having someone you trust come and EQ your voice-maybe because it’s your own voice you’re treating it with a certain bias? I know I would. -Personal Opinion* I don’t know if I like that mic on your vocal. I know it’s perceived to be ‘better’ and more ‘articulate’ in your ears compared to a 58, but that’s because the top end on that mic is CRANKED. Idk if that means it’s ‘better’ though, maybe just different. I think a V7 may be a cool middle ground for you and that M80. It’s $100 and give you a cool balance between your two mics of choice. Plus, I bet you’ll be able to get more gain before feedback in your position. -Your mix sounds great! I think I’d just be curious to hear what dialing back that HPF a bit would do to your voice for ‘online’ listening. Maybe back to like 225ish and a small wide-q dip between 200-280 to help with that mud that comes from proximity. Anyway bro, idk why I felt inclined to comment. The video is great and that Wing console is actually pretty dope. Thank you for sharing-this will be a great dialogue starter and resource for the community.
I don’t mean to hate but I don’t understand how the low cut at 230 Hz sounds better to you then it at 130 Hz. Also I am totally okay with you EQing for your room but you specifically call the low end “junk” You never mention that these tips or rules don’t fit every room. In fact 90% of rooms this eq would be less then ideal.
EQ changes drastically the more inputs you have in the mix because the audience has a limited frequency soundstage. A good engineer will hack away frequency ranges in certain instruments to clear things up by removing uneccesary overlapping in frequencies. That said there is never a cookie cutter answer because every space is different as is every vocalist. I think what this guy is saying make perfect sense in his context.
I don't agree with his eq, but everything else sounded AMAZING together. If its too boomy, I've found if you keep some of the low end and cut a little of the boomy areas it helps add more definition to the vocal!
To everyone complaining about the high pass - I agree that, on our headphones, it’s far too high and in normal situations this would not work great at all. BUT I’ve also been an engineer in some pretty shocking rooms and setups and had to do some really unorthodox things to make it sound acceptable. I’m sure we’ve all been there. Notice that he said it sounded better “in the room”. I think this is revealing more about the room. If I was consistently cutting that high to make it sound good in the room then my first port of call would be the global EQ on the master (or the speaker control system, if you have one). Rather adjust there first to balance the system to the room so that you’re not making so many corrective EQ choices on each input channel. This might be a situation where getting a professional to come in and setup the system for the room might be a worthwhile investment 😊
Eg. I did sound at this youth camp where it was in an old warehouse. We didn’t have subs or a global EQ and the room was just ridiculously boomy and undefined. The bass guitar in particular was really struggling to come through clearly. So what I did was I got the bassist to get his bass amp sounding decent and then turned it up on stage to act more as a sub and handle the low end of the bass properly. Then I took his DI channel and I aggressively rolled off ALL the low end. Listening to it in isolation, it would have been horrific. But when I blended that top heavy channel in with the sound coming from stage, it worked beautifully to keep the bottom end of the bass from overwhelming the cheap FOH speakers and allowed the clarity to still come through. Sometimes you’ve got to work with what you’ve got and just be creative.
I'm making an effort to develop a whole new set of volunteers in my church, and while our mixer is not the Behringer Wing used in this video, I'll still send this to the team. Most valuable video. Don't think I'd want to be so aggressive on the HPF frequency, or set the Compressor ratio so high, but nevertheless this is an outstanding video, and session of training. Most generous.
Sorry Jake , the low cut takes way too much of the lower register. The room might need a parametric notch on all vocal mikes to fix it. As far as broadcast need more bottom end. Listening at home with KRK Rockit 6 and Sub.
Yo Jake! Saw in one of your videos you were talking about ATV set only have stereo outputs. You can always upgrade the drum module to the Pearl Mimic Pro. It comes with an XLR splitter that lets you send 8 individual channels (they correspond to the mics they used when sampling, so for our set up we have kick, snare, two toms, hi hat, overhead L and R, and a room mic). This module uses Steven Slate triggers so your getting essentially the same sound options as what Trigger2 provides. Just figured I’d throw this out there before y’all give up on the Ekit entirely. We got our mimic used on Reverb for $1500.
I tend to agree with the comments that say the vocal didn't have enough lows. However, rather than lowering the cutoff frequency, could you just use a gentler cutoff slope? Perhaps 6db/oct? All that said, this is still a pleasant sounding mix, and I imagine it sounds even better live.
low cut is good but you do not want to overdo it like it was done here. Maybe get yourself another EQ-band to clean up the low end but cutting everything will make you lose a lot of information unfortunately
@@Churchfront yeah that's what I thought but I'd say you could leave a little more low end in there just to make it sound fuller and not as thin. But again, might sound different in the room. Although if it does sound that muddy maybe the PA needs some tuning as you mentioned in the video.
I really appreciate the detail about how the various features of the Wing work. Thanks for the video. After observing your settings, comments, and finding the graph chart for the M80, there may be some other issues pertaining to vocal microphone setup. If no wind screen, my general rule for mic distance is about 2-3 fingers away. People who "make out" with a microphone just looks and sounds awful...
Everyone will have different concepts for results, we all hear differently so these tips are for recommendations and great personal ways that are explained , this will be helpful for someone starting out. Good stuff and informative.
One thing I know, is that there's no recipe for church sound. Each one have different taste, and also different resources. In my case it's only one or two vocal and an acoustic guitar. If I remove the so much low end, it would sound terrible, but in your case it sounds good in the mix. One thing that I can't stand is the auto tune. It really sounds very digital... Love your videos, keep going!
If you got $250 to spend on a microphone, check out Shure Beta 58A (dynamic) or Shure Beta 87A (condenser). In my opinion they sound way better and cost less. Please keep in mind that technology for dynamic microphones has not changed in 50 years. The warmth of Shure SM58 for vocals is legendary for a reason. Please stop misinforming people if your not sure on proper room tuning and microphones.
Great video presentation! Question! Let's say we use QU-16 digital mixer, at what point in this video we would match PEQ Width, Freq, and Gain on QU-16 mixer with your setup? Basically when your setting your EQ LC and HC, is it the same concept as setting LF, LM, HM, and HF PEQ settings on QU-16 mixer? Thanks!
Not sure if I liked the pitch correction much more than natural. Autotune pitch correction is much better IMO. You can make it more aggressive, and still have it sound natural. It is nice that it is really nicely integrated. The new Behringer products have been impressive.
If you need pitch correction, its time to visit brett manning. Ive NEVER heard pc sound good...formant mangling, phase smearing make up...just learn to sing properly and be vulnerable
@@Art_Of_Sound Mostly agree, but I guarantee you that all productions today use pitch correction (at least a little). It's ok to do both honestly and particularly for church, eliminating distraction is the goal (i.e. to be as invisible as possible) while leading God's people into church, and if autotune helps to do that, maybe it isn't bad idea.
@@sangkong9738I understand what you are saying...Hmm...Im asked to do it...often; but I encourage people to have it right before coming to the studio. Yep I even heard Audrey Assad producer putting it on...wow I much prefer her live stuff without it. Its ok to do practically anything if it sounds good but no excuse for instant gratification and pretending. There are so many good courses eg Brett Manning is brilliant. I spent about `20 years in the studio...'fixing it (pitch) in the mix'. 20 years later...I might use Melodyne (because I cant pick its formant manipulation) on a voice, violin cello etc for 1 or 2 slight fixes...but the best heart, the best takes, the best expression, the best artists dont need it... Its the barbie doll syndrome unfortunately. What it taught me was...when it comes to worship; Spirit...and...Truth is key...just learn the 5 stones and the sling...if someone is that off pitch...practice the gift until they are able. Be patient, put the yards in and do the time...be genuine and truthful in everything...including pitch :-) I have heard some people sing with intonation issues/no PC but WOW, there life so exuded a real walk that there was something powerful that came out in their musical expression; far surpassing pitch issues if you know what I mean...made me weep because there was an invisible power (hehe) in what they sang that overrode any issues and pointed me clearly to the throne...I was undone. If it's real sitting in a lounge room with a group of people...its real. Its the FOH engineers job to connect the congregation to the very heart and detail of that...not put makeup on if you know what I mean. Peace
Sorry Jake but you can’t high pass that far. Well you can do what ever you want but it’s bad advice. The fundamental of your low notes are below your high pass. That’s not good. Yes you get a little woofy down by 200hz but you just need to notch a little out down there. That resonance is known as vocal “formant”. Everybody has a resonance or two that needs to be dealt with. It’s best to use a dynamic eq for that if you have access to one but you can’t remove it completely.
Great Video. Completely agree with the Low Cut setting. We a re a new church and are at a school gymnasium and I am as high as 380-390 HZ on some boomy vocals. You just have to know that the room affects the sound just as much as the traditional recommendations of vocal low cut at 100-200 Hz. Most are set in the 200-230Hz range, and then EQ to taste.
Berhinger preamps sound crunchy upgrade to a Midas stage box soon! No point of having the wing if you are using berhinger preamps... do like the setup tho!
As mentioned below...that is way too high..but prob not for that room. WHY? Because energy starting below about 400hz becomes hugely kinetic and between 100-300 (room dependent) will bloat because longer verb times without diffusion simply cause it to overlap and hang around. Worship is about the voice...so start with that and work everything else around it. Based on observable harmonics; Low cut should never be below 120 for female and about 100 for male (depending on Bass/Baritone register which can go down to 80hz...hehe like mine), then work with a low shelf starting at about 250 max. Much of what is mentioned below is def spot on. If you have that much RT60 in the room...even a basic measurement mic will tell you...its time to start fixing the room. Def dont want to be attenuating with foam panels and all those other myths...you will just kill high frequency and make it worse...must be diffusion like QRD or similar and tuned to the room issues (you can DIY with a bit of consult) ALWAYS work back from the room and end with the source. A quick hack would be to pull that 150-350 out of the FOH and hp 300 in your foldback...the subs will provide plenty of non directional bass...it doesnt need to be in the foldbacks (assuming you are using iem+monitors): quick exercise is to do a FOH mix with NO foldback, then compare Low cut live is all about bleed control only. If you are jamming the mic because you cant hear yourself...change tack. As soon as you move that close to a dynamic cardioid (or even worse on hyper) its no wonder the bottom end is so woolly and bloated...cant change the proximity physics unfortunately This is a pic from a low male vox, reasonably bad room: NT3 into awful Behringer midas on XR18 (sure the nt3 has a built in 6k hype of about 3db). Thats a max proximity of about 50mm (two fingers wide away from mic). drive.google.com/file/d/1VeWymEBMZLdu_pTkgAeVMiW7u5KilBJE/view?usp=sharing Once that is sorted, make room for the vocals in the instruments, not the other way around...its not a gig :-) Im not a fan of the behringer midas pres...after transitioning to the Yammy (steingberg ur drpes) the mix is so much more midrange bold and doesnt suffer the same flat image...as soon as you switch the iems on...plug some mics in, its like WOW. My point is also, stop relying solely on eq and use some frequency keyed side chaining to clear the bottom end bloat AND get the bass player to stop turning the amp up so loud: get them on iems...the stage sound and consequently the auditorium will be miles better for it. Do you know how long a 50hz wave is? Thats why they cant hear themselves standing by the cab but the congregation is loosing fillings. This alone will be over 50% of the issue (and deep keys) @churchfront Jake...love absolutely so much of what you do! This one...with deep respect...no no no. Get a consult in, fix the room and the bass...try it again. The warmth and power will come back. Whats funny is that some female vox has a built HP at 300 hehe...I dont dare add any tops to theirs and usually has essy 6k...thats where a blue e100/300 is the best hit :-)
The comments on this video are great. Anyone shocked about the highpass would also be shocked if they heard the solo tracks of their fav artist, especially a lot of the pop and rock records of the 80's and 90's...the golden age of recording. If you can't fathom high passing vocals at 300-400 with a full band, more than likely, the rest of your mix is mud from 400 down, and of course its going to sound thin high passed that high. This is why mixers need to stop listening to the damn solo button...just listen to mix and it'll tell you what to do with the inputs.
What you are saying about the 80s and 90s are correct. Not so much for today... We have much higher fidelity now. No cassette tapes. Everything sounded like mud back then.
That low cut is crazy, like thats so much!! you're literally getting rid of all the body and warmth from your vocal. round 150 to 200 is were the warmth of a vocal is and your just getting rid of it. If its sounding good in your room then your PA isn't set up properly. If your room is muddy like you have said in the comments then you need to sort that out with your PA cause it defiantly has to much low end on it or you're not taking enough out of the system. IF YOUR ROOM IS MUDDY AND YOU KNOW IT IS. SORT IT OUT😂😂😂😂😂 like ive said before,
It almost makes me wonder if they have their mains running through their subs. I could then definitely see why one would have to cut so much. If they separate their sub frequencies on a separate send, you could then avoid having to low cut so much. Either way I agree with you. Just by listening I guarantee he's not cutting that much the mic he's recording this video with!!!!
Hey Jake! Curious if you are still using the broadcast template for the live stream? I have the wing as well and think I’m still going to route to Logic for the live stream but curious if you think the wing can do enough on its own?
You're gain staging literally makes no sense. Why would you not use your gain properly and get it to the level you want and then use your DIGITAL trim to get it to the right level. If your pre isn't at a good level and letting in enough signal then you will not get as much low end and body to the sounds the pre isn't getting enough juice. If you use your digital trim to get it to the right level, your not using the full advantage of the pre but as-well, your boosting the noise floor which can cause problems. You're reasoning for doing this was you wanted you're EQ and COMP to get the right level. If you're wanting to do this then properly gain stage. This isn't proper gain staging for Microphones!!!!! If your gonna do a video and telling people what they should but also sell courses and give this info out, you gotta do your research and know the info. Only reason im saying this is because gain staging is the source of mixing, its were it all starts mixing wise and if your giving the wrong info, your setting people up for a potential fail
Man you have no idea what you’re talking about. Stop the hate, this guys is making very helpful videos and helping churches all around the world. How on earth can the preamp gain affect the low end and the body? Gain it’s just a linear volume control, it doesn’t add or remove anything unless you’re clipping. He is using trim because he is reproducing a multitrack recording, so the analog preamps are no longer on the signal flow. You should do some research before commenting.
@@germanboza Actually i do as a matter of fact :) when a pre is getting a weak signal, you will get artifacts such as a tad less low end, less dynamic range and the tone not being as full. Its not exactly like a guitar of course, but, when you're turn the gain of your guitar amp, theres less low end, starts getting a bit chokey and the sustain and transients isn't as big. This obviously depends on the Pre of course. And yes he is using a multi track. But he said he uses the trim to get a the right level for it going in to the EQ and comp. so weather he is or isn't using a multitrack doesn't make a difference. at no point did he say that he is using the digital trim like the gain control because of the multi track. Obviously i know that but he giving false information. You said it yourself, he was using multitracks, why did he not mention that he cant use the gain knob due to that so he's using the digital trim. It doesn't make sense and its misleading information
Great Video Jake. Is the Wing that good? I’m trying to decide the best mixing console for my church and I had landed on the SQ. But your liking for the Wing is making me want it instead. Kindly advice
I use the wing at my full time job and an SQ6 at the Church I mix at. I hate the SQ. The wing wipes the floor with it. We are actually going to be selling the SQ6 and stage boxes and upgrading to a wing at Church.
Zachary Towell, what do you hate about the sq6? It appears very capable and user friendly. The layout seems very intuitive. Is there something it struggles with? Does it just not sound very good?
@@RobertMinkler Maybe it’s because I started my career on the X32, but the routing on the SQ is not nearly as capable or easy to use. The screen is very small and hard to use. You have to pay for the effects, and they’re not cheap. The scribble strips can only have like 5 letters on them. There isn’t really an assign section, just some soft buttons that are user programmable, and there is not Scribble strip on them, you will have to pull out some tape or a label maker like back in the old days. There’s only 4 bands of EQ and no high cut. So if you use a high cut that only leaves 3 bands. It’s just my opinion but I don’t like the compressor on the SQ. The DCA’s don’t show metering on the LED above the fader. The metering on faders are all a single LED that changes colors. AES50 is superior to S-Link in its comparability. Still nowhere near AES-67 or Dante, but better than S-Link. For less money the wing can do everything the SQ6 can do better and included with the console itself, no add-on purchases. Also the 4 main outputs is really cool. I’ve run L/R, Subs, and Side Fills all on 3 main outs and didn’t take a single bus or matrix. When the wing was announced people tried talking me into getting an SQ6 instead at work. I stuck with my gut and went for the Wing. It’s been a long year of firmware updates and app releases, behringer honestly should have probably waited to release it until last month. At this point though there is no reason to get the SQ6 unless you want to work it into already existing Allen & Heath infrastructure. If you are going the A&H route you really need to go all out to make it worth it with a D Live. That said, there is absolutely nothing wrong with the SQ6, just something newer and better is out now. It was a great console, probably the best console in its price range pre-wing. Behringer just really knocked it out of the park with the wing. In my opinion it is the console to get unless you have a much larger budget. Let me know if you have any more questions, I use both of these consoles multiple times a week so I can check on anything you want.
@Zachary Towell you mentioned that the effects on the sq series are extra. Does the sq series not include at least a basic compressor, limiter, parametric eq, graphic eq, noise gate, reverb, & delay out of the box?
One inch is excellent advice. Greater than that, you should really know your voice. Closer than that, understand proximity effect and use that to your advantage, as a tool. I have gotten really good over the years at explaining the inverse square law to non technical people.
@@cindybarge5726 If you are one inch away from the mic and you move another inch away, the amount of sound (power) the mic can pick up goes down by a factor of four. Move another inch away and that decrease is a factor of nine. Another inch and the loss is a factor of sixteen. People who work the mic dramatically either have super powerful voices or are working the mic for show.
300hz....? Ouch. Would love to hear your church's sound engineer's thoughts on what it sounds like on a Sunday morning. This is not really a good starting point for your listeners, seems like you might be working around a problem with the room/PA arrangement, (most churches suffer from this unfortunately) Hopefully all gets better!! Thank you
My dude! Where is your pop filter? Don't remove plosives in processing, get the sound correct at the source. The foam tops might look tacky, but they work.
Church Sound is not at all easy, make sure you get your room tuned good or by a professional and use reference headphones like Shure SRH 1540s. If you have a separate broadcast setup you absolutely must have an accurate listening position period, no excuses no shortcuts on that. If you skip that step you will have subpar mixes guaranteed.
25:44 or a guitar player uses an effect unit, what causes an aggressive, boxy sound or there is a saxophone player with a bad clip microphone or some crosstalk I have to get rid off.
Jake. I do like your videos a lot but seems like the vocal EQ and compression is quite much. Also to say that someone is wrong about the EQ and compression is not right as each church has their own room acoustics and types of speaker cabinets. I was quite saddened. I could POSSIBLY see the vocal EQ HPF at that level if you had a 10-15 vocalists all singing at the same time on songs but majority of the time, this is not the case. To each their own.
For most male voices, a low cut that high would often cut the fundamental frequency they are singing, since the A below middle C is 220. An octave below that is 110. I suppose you might want to start rolling off a bit of that as you get real low if it gets boomy, but wow is that high to start cutting off.
Yes, Jake is wrong here! LOL. Simply cut out way too much. He's cutting literally ALL of his fundamentals up to where songs peak (about Eb above middle C). The MUD that you want to get rid of is a full octave below -- i.e. 175 and below on a male lead. In general, we'll set HPFs around 150 for Male lead, 180 for Tenors, 200 for Alto, 225 for Soprano -- for starting points. Adjust to taste.
4 Factors to consider:
1. How steep is the curve? 6dB/oct? 12dB/oct? 18db/oct?
2. How MUCH is being cut: 3dB? 6db? 10dB? 15dB?
3. How close the singer is to the mic. Is the singer eating the mic? Proximity effect is a real thing. It might be that Jake is cutting so high is because he eats the mic and has experienced a problem with proximity effect. I try to sing and train my singers at 1-2" away, so the natural sound is more balanced.
4. Reverb settings can affect the vocal low end. He mentions EQ-ing reverbs and cutting out lows there, which is good.
i think part of the reason he is wrong is the microphone he may think those are great mics but he shouldn’t have to cut out that much “boominess” good mics take care of that
Yes, thank you.
Jake: hire a sound operator please. One cannot best serve their congregations audio needs from behind the FOH speakers, on stage, while also leading worship. We cannot and SHOULD not do it all. Find someone trustworthy and with experience to delegate the role of sound operator to. This may mean hiring out a professional. You’d be surprised at who God brings you and on how much it will change everyone’s worship experience for the better!! :)
@@lucasburkhalter9715 I think he's got some PA/room issues. I use M80's and M81's all the time, and NEVER have to high pass that high... I'm usually between 100-150 most of the time, depending on the vocal.
@@chaddonal4331 Bro... where did you learn all this??? i feel like knowing what db each note is at would make EQ'ing a lot easier. Is there videos where i can learn this ?
Telefunken makes great mics, for sure!
Other considerations for Worship Leader Mics: Shure KSM9 -- perhaps the very best available. Outstanding Alternates: Audix VX-10 and Sennheiser 965.
Great Worship Vocal Team mics: Audix OM-5 (OM-6, darker for women), Sennheiser 945 or 935, Shure Beta 87, Miktek PM9 -- Great mic with SuperCardioid pattern, if there is feedback concern.
Best value mics ($100 range): SE V7 (outstanding on thinner voiced women). Sennheiser 835. Both these make every voice sound bigger.
It's an awesome era for quality mic options!
To be honest I'd low cut to a little over 200 and then let a multi-band compressor handle that low-mid information on the vocal. But everyone's got their own methods. Good tips Jake!
It'd be fun to do an entire series of this type of video about all the different instruments.
I’d watch that.
Yes!!!!!! Please!!!!
great workflow intro for our new wing, thanks. I was told we were going to have a delay on the lead vox, not sure how we will set the tempo to each song, but I will watch for it. I am just operator during service and another guy is the setup guy & sound tech.
Very nice. We got the Wing the first week it launched. It was our first digital board and it didn’t have a proper documentation yet nor any tutorials, so we struggled a bit at first but figured it out. That said, thank you for your content Jake. I do learn from these and love it. And you do provoke new ideas.
Thanks bro. For your channel, your heart and your desire to help the church in this way. This kind of demonstration can be such a vulnerable experience. Especially because the internet can be pretty brutal sometimes lol. Regardless, your work has helped thousands of church techs and worship leaders, so thank you.
For whatever it’s worth (which ain’t much) I do have some thoughts on the video. I’ll just list em out. Hopefully they’re helpful.
- I’m sure your vocal sounds amazing in the room. But I wonder if because of your PA tuning you’re having to cut more in that low-mid range than you ought to.
-I’d entertain the idea of having someone you trust come and EQ your voice-maybe because it’s your own voice you’re treating it with a certain bias? I know I would.
-Personal Opinion* I don’t know if I like that mic on your vocal. I know it’s perceived to be ‘better’ and more ‘articulate’ in your ears compared to a 58, but that’s because the top end on that mic is CRANKED. Idk if that means it’s ‘better’ though, maybe just different. I think a V7 may be a cool middle ground for you and that M80. It’s $100 and give you a cool balance between your two mics of choice. Plus, I bet you’ll be able to get more gain before feedback in your position.
-Your mix sounds great! I think I’d just be curious to hear what dialing back that HPF a bit would do to your voice for ‘online’ listening. Maybe back to like 225ish and a small wide-q dip between 200-280 to help with that mud that comes from proximity.
Anyway bro, idk why I felt inclined to comment. The video is great and that Wing console is actually pretty dope. Thank you for sharing-this will be a great dialogue starter and resource for the community.
I don’t mean to hate but I don’t understand how the low cut at 230 Hz sounds better to you then it at 130 Hz. Also I am totally okay with you EQing for your room but you specifically call the low end “junk” You never mention that these tips or rules don’t fit every room. In fact 90% of rooms this eq would be less then ideal.
330* and agree. Way too much.
Hahahahahahaha. Bro just make his voice super thin
EQ changes drastically the more inputs you have in the mix because the audience has a limited frequency soundstage. A good engineer will hack away frequency ranges in certain instruments to clear things up by removing uneccesary overlapping in frequencies. That said there is never a cookie cutter answer because every space is different as is every vocalist. I think what this guy is saying make perfect sense in his context.
300+ high pass sounds too thin. Maybe depends on the PA speakers. Very good video tho 👍🏻
M80, hands down the best mic. I own one as well and it’s so amazing!
I don't agree with his eq, but everything else sounded AMAZING together. If its too boomy, I've found if you keep some of the low end and cut a little of the boomy areas it helps add more definition to the vocal!
To everyone complaining about the high pass - I agree that, on our headphones, it’s far too high and in normal situations this would not work great at all. BUT I’ve also been an engineer in some pretty shocking rooms and setups and had to do some really unorthodox things to make it sound acceptable. I’m sure we’ve all been there.
Notice that he said it sounded better “in the room”. I think this is revealing more about the room.
If I was consistently cutting that high to make it sound good in the room then my first port of call would be the global EQ on the master (or the speaker control system, if you have one). Rather adjust there first to balance the system to the room so that you’re not making so many corrective EQ choices on each input channel.
This might be a situation where getting a professional to come in and setup the system for the room might be a worthwhile investment 😊
Eg. I did sound at this youth camp where it was in an old warehouse. We didn’t have subs or a global EQ and the room was just ridiculously boomy and undefined. The bass guitar in particular was really struggling to come through clearly.
So what I did was I got the bassist to get his bass amp sounding decent and then turned it up on stage to act more as a sub and handle the low end of the bass properly.
Then I took his DI channel and I aggressively rolled off ALL the low end. Listening to it in isolation, it would have been horrific. But when I blended that top heavy channel in with the sound coming from stage, it worked beautifully to keep the bottom end of the bass from overwhelming the cheap FOH speakers and allowed the clarity to still come through.
Sometimes you’ve got to work with what you’ve got and just be creative.
He has responded in the comments that despite seasoned engineers telling him otherwise, he still says their wrong...
I'm making an effort to develop a whole new set of volunteers in my church, and while our mixer is not the Behringer Wing used in this video, I'll still send this to the team.
Most valuable video. Don't think I'd want to be so aggressive on the HPF frequency, or set the Compressor ratio so high, but nevertheless this is an outstanding video, and session of training. Most generous.
Jake can you do a tour of your new churches sound booth setup or the entire audio setup?
Sorry Jake , the low cut takes way too much of the lower register. The room might need a parametric notch on all vocal mikes to fix it. As far as broadcast need more bottom end. Listening at home with KRK Rockit 6 and Sub.
Yo Jake! Saw in one of your videos you were talking about ATV set only have stereo outputs. You can always upgrade the drum module to the Pearl Mimic Pro. It comes with an XLR splitter that lets you send 8 individual channels (they correspond to the mics they used when sampling, so for our set up we have kick, snare, two toms, hi hat, overhead L and R, and a room mic). This module uses Steven Slate triggers so your getting essentially the same sound options as what Trigger2 provides.
Just figured I’d throw this out there before y’all give up on the Ekit entirely. We got our mimic used on Reverb for $1500.
I tend to agree with the comments that say the vocal didn't have enough lows. However, rather than lowering the cutoff frequency, could you just use a gentler cutoff slope? Perhaps 6db/oct? All that said, this is still a pleasant sounding mix, and I imagine it sounds even better live.
Greaaaaat vid! But that low cut is destroying the vocal lol
We can just both agree you're wrong. lol
low cut is good but you do not want to overdo it like it was done here. Maybe get yourself another EQ-band to clean up the low end but cutting everything will make you lose a lot of information unfortunately
wanted to add that the mix is for the room so it probably sounds way better in the room than it does in our headphones or monitors.
Yeah the room adds a ton of additional mud to the vocals
@@Churchfront yeah that's what I thought but I'd say you could leave a little more low end in there just to make it sound fuller and not as thin. But again, might sound different in the room. Although if it does sound that muddy maybe the PA needs some tuning as you mentioned in the video.
We have that same set up with wireless mics we have 8 of the black and red ones and 3 of the newer ones
I would like to know how many looked at the board for “the like button”
Great stuff man excited about the new “RND” going on 🤙
I have never seen someone using a highpass > 300hz.. wow
I really appreciate the detail about how the various features of the Wing work. Thanks for the video.
After observing your settings, comments, and finding the graph chart for the M80, there may be some other issues pertaining to vocal microphone setup. If no wind screen, my general rule for mic distance is about 2-3 fingers away. People who "make out" with a microphone just looks and sounds awful...
Everyone will have different concepts for results, we all hear differently so these tips are for recommendations and great personal ways that are explained , this will be helpful for someone starting out. Good stuff and informative.
One thing I know, is that there's no recipe for church sound. Each one have different taste, and also different resources. In my case it's only one or two vocal and an acoustic guitar. If I remove the so much low end, it would sound terrible, but in your case it sounds good in the mix. One thing that I can't stand is the auto tune. It really sounds very digital...
Love your videos, keep going!
Wow i love how the voices cut through the mix!
You are singing is fantastic. How w can I find your music?
Appreciate the video and seeing the wing. 380 on a low cut is extremely aggressive.
The Heil PR35 blows away every other dynamic mic I've tried including the Telefunken M80 and M81, all the Sennheisers, and even the Shure KSM8.
Nice that youre showing these on the wing. Could you tell all there is to about daisy chaining stageboxes to a single aes50 port. Thanks very much.
The low cut also eliminates low cross talk from the other instruments.
Hey Jake, have you tried the Heil PR37. I moved from the Beta 58A to the Heil PR35 and now to the newish PR37. Highly recommended.
Might want to go the M81 which has a flatter EQ at around 3 k naturally for you
If you got $250 to spend on a microphone, check out Shure Beta 58A (dynamic) or Shure Beta 87A (condenser). In my opinion they sound way better and cost less. Please keep in mind that technology for dynamic microphones has not changed in 50 years. The warmth of Shure SM58 for vocals is legendary for a reason. Please stop misinforming people if your not sure on proper room tuning and microphones.
Bring more wing content xpecialy the effects on vocals and instruments
Question what EQ and compressor settings for a preachers microphone. We don’t have bands.
Sorry, I didn't quite get the name of the microphone. Was hoping you would post the amazon link.
me too
I think it's Telefunken m80
@ alright. Thanks a lot. Will look it up.
Great video presentation! Question! Let's say we use QU-16 digital mixer, at what point in this video we would match PEQ Width, Freq, and Gain on QU-16 mixer with your setup? Basically when your setting your EQ LC and HC, is it the same concept as setting LF, LM, HM, and HF PEQ settings on QU-16 mixer? Thanks!
You need to check out the SEV7. trust me. you will be using after day in and day out after you hear it
I like the V7 more than the m80! What a great mic the V7 is!
Yes sir!
I notice, UA-cam's automatic sub titles works with music too
Not sure if I liked the pitch correction much more than natural. Autotune pitch correction is much better IMO. You can make it more aggressive, and still have it sound natural. It is nice that it is really nicely integrated. The new Behringer products have been impressive.
If you need pitch correction, its time to visit brett manning. Ive NEVER heard pc sound good...formant mangling, phase smearing make up...just learn to sing properly and be vulnerable
@@Art_Of_Sound Mostly agree, but I guarantee you that all productions today use pitch correction (at least a little). It's ok to do both honestly and particularly for church, eliminating distraction is the goal (i.e. to be as invisible as possible) while leading God's people into church, and if autotune helps to do that, maybe it isn't bad idea.
@@sangkong9738I understand what you are saying...Hmm...Im asked to do it...often; but I encourage people to have it right before coming to the studio. Yep I even heard Audrey Assad producer putting it on...wow I much prefer her live stuff without it. Its ok to do practically anything if it sounds good but no excuse for instant gratification and pretending. There are so many good courses eg Brett Manning is brilliant. I spent about `20 years in the studio...'fixing it (pitch) in the mix'. 20 years later...I might use Melodyne (because I cant pick its formant manipulation) on a voice, violin cello etc for 1 or 2 slight fixes...but the best heart, the best takes, the best expression, the best artists dont need it... Its the barbie doll syndrome unfortunately. What it taught me was...when it comes to worship; Spirit...and...Truth is key...just learn the 5 stones and the sling...if someone is that off pitch...practice the gift until they are able. Be patient, put the yards in and do the time...be genuine and truthful in everything...including pitch :-) I have heard some people sing with intonation issues/no PC but WOW, there life so exuded a real walk that there was something powerful that came out in their musical expression; far surpassing pitch issues if you know what I mean...made me weep because there was an invisible power (hehe) in what they sang that overrode any issues and pointed me clearly to the throne...I was undone. If it's real sitting in a lounge room with a group of people...its real. Its the FOH engineers job to connect the congregation to the very heart and detail of that...not put makeup on if you know what I mean. Peace
Sorry Jake but you can’t high pass that far. Well you can do what ever you want but it’s bad advice. The fundamental of your low notes are below your high pass. That’s not good. Yes you get a little woofy down by 200hz but you just need to notch a little out down there. That resonance is known as vocal “formant”. Everybody has a resonance or two that needs to be dealt with. It’s best to use a dynamic eq for that if you have access to one but you can’t remove it completely.
That’s what I was thinking too, you gotta have a little low end in there to make it sound natural.
Low cut around 130hz works great I think
Nice Work Jake!
Great Video. Completely agree with the Low Cut setting. We a re a new church and are at a school gymnasium and I am as high as 380-390 HZ on some boomy vocals. You just have to know that the room affects the sound just as much as the traditional recommendations of vocal low cut at 100-200 Hz. Most are set in the 200-230Hz range, and then EQ to taste.
What do you prefer to use as a second microphone to hear the congregation?
For $250 I would prefer a SHURE beta 87a, the price is pretty steep. I wonder how this new mic would compare to that one??? Interesting...
Question... do your vocalists also hear themselves through the monitor with the hpf so high? And how is that for them?
Just curious what your settings are for the red compressor.
Watching this video because we got a wing, and man, that’s a pretty thin sounding EQ 😅
When you apply the lo cut it goes from sounding like a concert to “clean up on aisle 9”
Is that right
Nice work really appreciate the whole process
Nice console. Anything like this for the digital Dante world?
I prefer to use sennheiser mics for worship leaders. To me it the clearest microphone
Berhinger preamps sound crunchy upgrade to a Midas stage box soon! No point of having the wing if you are using berhinger preamps... do like the setup tho!
That low cut it a bit much lol but I understand it's probably different in the room. It's really aggressive online, it's the right idea tho
If Churchfront at Indonesia, we may need your help 😆
Muy bien pero puedes explicar un poco más del compresor?
As mentioned below...that is way too high..but prob not for that room.
WHY?
Because energy starting below about 400hz becomes hugely kinetic and between 100-300 (room dependent) will bloat because longer verb times without diffusion simply cause it to overlap and hang around. Worship is about the voice...so start with that and work everything else around it.
Based on observable harmonics; Low cut should never be below 120 for female and about 100 for male (depending on Bass/Baritone register which can go down to 80hz...hehe like mine), then work with a low shelf starting at about 250 max. Much of what is mentioned below is def spot on. If you have that much RT60 in the room...even a basic measurement mic will tell you...its time to start fixing the room. Def dont want to be attenuating with foam panels and all those other myths...you will just kill high frequency and make it worse...must be diffusion like QRD or similar and tuned to the room issues (you can DIY with a bit of consult)
ALWAYS work back from the room and end with the source. A quick hack would be to pull that 150-350 out of the FOH and hp 300 in your foldback...the subs will provide plenty of non directional bass...it doesnt need to be in the foldbacks (assuming you are using iem+monitors): quick exercise is to do a FOH mix with NO foldback, then compare
Low cut live is all about bleed control only. If you are jamming the mic because you cant hear yourself...change tack. As soon as you move that close to a dynamic cardioid (or even worse on hyper) its no wonder the bottom end is so woolly and bloated...cant change the proximity physics unfortunately
This is a pic from a low male vox, reasonably bad room: NT3 into awful Behringer midas on XR18 (sure the nt3 has a built in 6k hype of about 3db). Thats a max proximity of about 50mm (two fingers wide away from mic).
drive.google.com/file/d/1VeWymEBMZLdu_pTkgAeVMiW7u5KilBJE/view?usp=sharing
Once that is sorted, make room for the vocals in the instruments, not the other way around...its not a gig :-)
Im not a fan of the behringer midas pres...after transitioning to the Yammy (steingberg ur drpes) the mix is so much more midrange bold and doesnt suffer the same flat image...as soon as you switch the iems on...plug some mics in, its like WOW.
My point is also, stop relying solely on eq and use some frequency keyed side chaining to clear the bottom end bloat AND get the bass player to stop turning the amp up so loud: get them on iems...the stage sound and consequently the auditorium will be miles better for it.
Do you know how long a 50hz wave is? Thats why they cant hear themselves standing by the cab but the congregation is loosing fillings. This alone will be over 50% of the issue (and deep keys)
@churchfront Jake...love absolutely so much of what you do! This one...with deep respect...no no no. Get a consult in, fix the room and the bass...try it again. The warmth and power will come back.
Whats funny is that some female vox has a built HP at 300 hehe...I dont dare add any tops to theirs and usually has essy 6k...thats where a blue e100/300 is the best hit :-)
Sir can I sponsors simple sounds system in our church pls
Great video Jake! Thanks for putting this together. However, it makes me want a Wing😬.
The comments on this video are great. Anyone shocked about the highpass would also be shocked if they heard the solo tracks of their fav artist, especially a lot of the pop and rock records of the 80's and 90's...the golden age of recording. If you can't fathom high passing vocals at 300-400 with a full band, more than likely, the rest of your mix is mud from 400 down, and of course its going to sound thin high passed that high. This is why mixers need to stop listening to the damn solo button...just listen to mix and it'll tell you what to do with the inputs.
What you are saying about the 80s and 90s are correct. Not so much for today... We have much higher fidelity now. No cassette tapes. Everything sounded like mud back then.
That low cut is crazy, like thats so much!! you're literally getting rid of all the body and warmth from your vocal. round 150 to 200 is were the warmth of a vocal is and your just getting rid of it.
If its sounding good in your room then your PA isn't set up properly. If your room is muddy like you have said in the comments then you need to sort that out with your PA cause it defiantly has to much low end on it or you're not taking enough out of the system. IF YOUR ROOM IS MUDDY AND YOU KNOW IT IS. SORT IT OUT😂😂😂😂😂
like ive said before,
Thanks!
Agree!
It almost makes me wonder if they have their mains running through their subs. I could then definitely see why one would have to cut so much. If they separate their sub frequencies on a separate send, you could then avoid having to low cut so much. Either way I agree with you. Just by listening I guarantee he's not cutting that much the mic he's recording this video with!!!!
Hey Jake! Curious if you are still using the broadcast template for the live stream? I have the wing as well and think I’m still going to route to Logic for the live stream but curious if you think the wing can do enough on its own?
You're gain staging literally makes no sense. Why would you not use your gain properly and get it to the level you want and then use your DIGITAL trim to get it to the right level.
If your pre isn't at a good level and letting in enough signal then you will not get as much low end and body to the sounds the pre isn't getting enough juice. If you use your digital trim to get it to the right level, your not using the full advantage of the pre but as-well, your boosting the noise floor which can cause problems.
You're reasoning for doing this was you wanted you're EQ and COMP to get the right level. If you're wanting to do this then properly gain stage. This isn't proper gain staging for Microphones!!!!!
If your gonna do a video and telling people what they should but also sell courses and give this info out, you gotta do your research and know the info.
Only reason im saying this is because gain staging is the source of mixing, its were it all starts mixing wise and if your giving the wrong info, your setting people up for a potential fail
gain on the Wing is only adjusted in 2.5 dB steps. Everything in between is trim. So trim is used to get finer adjustments
Man you have no idea what you’re talking about. Stop the hate, this guys is making very helpful videos and helping churches all around the world. How on earth can the preamp gain affect the low end and the body? Gain it’s just a linear volume control, it doesn’t add or remove anything unless you’re clipping. He is using trim because he is reproducing a multitrack recording, so the analog preamps are no longer on the signal flow. You should do some research before commenting.
@@Borizkin That's pretty unintuitive. Interesting design choice to have separate Gain and Trim. O well.
@@germanboza Actually i do as a matter of fact :) when a pre is getting a weak signal, you will get artifacts such as a tad less low end, less dynamic range and the tone not being as full. Its not exactly like a guitar of course, but, when you're turn the gain of your guitar amp, theres less low end, starts getting a bit chokey and the sustain and transients isn't as big. This obviously depends on the Pre of course. And yes he is using a multi track. But he said he uses the trim to get a the right level for it going in to the EQ and comp. so weather he is or isn't using a multitrack doesn't make a difference. at no point did he say that he is using the digital trim like the gain control because of the multi track. Obviously i know that but he giving false information. You said it yourself, he was using multitracks, why did he not mention that he cant use the gain knob due to that so he's using the digital trim. It doesn't make sense and its misleading information
@@Borizkin The guy added 7.9 DB of digital Trim. Dont think that a finer adjustment
Hi .. How do I add fx to my livestream bus without adding any to my house mix.
Just me or the high mids were distoring just abit in the chorus after the, before after delay demonstration?...
What in ears do you use? We have the dp48 system. Would like to know how to send post eq to those
Awesome video brother 👏. U need more subscribers
😂😂😂😂😂😂😂I love how you throw stuff in with a straight face. 😂😂😂if you wanna sound like T-Pain
17:50 is it possible to set the pitch correction a way, that you can add the non processed signal to get a natural sounding doubling?
you'd likely get a lot of phasing issues and sound very awful, at least that was my experience when i tried it out of curiosity on a mix
TEAM JESUS
How does that mic compare with the SM Beta 87c ?
How much is it..lf l wat to buy
PERFECT TIMING im just starting to mix for live events!
Is the vocal Bus pre or Post?
Jake wasssssup!
Great Video Jake. Is the Wing that good? I’m trying to decide the best mixing console for my church and I had landed on the SQ. But your liking for the Wing is making me want it instead. Kindly advice
I use the wing at my full time job and an SQ6 at the Church I mix at. I hate the SQ. The wing wipes the floor with it. We are actually going to be selling the SQ6 and stage boxes and upgrading to a wing at Church.
Zachary Towell, what do you hate about the sq6? It appears very capable and user friendly. The layout seems very intuitive. Is there something it struggles with? Does it just not sound very good?
@@RobertMinkler Maybe it’s because I started my career on the X32, but the routing on the SQ is not nearly as capable or easy to use. The screen is very small and hard to use. You have to pay for the effects, and they’re not cheap. The scribble strips can only have like 5 letters on them. There isn’t really an assign section, just some soft buttons that are user programmable, and there is not Scribble strip on them, you will have to pull out some tape or a label maker like back in the old days. There’s only 4 bands of EQ and no high cut. So if you use a high cut that only leaves 3 bands. It’s just my opinion but I don’t like the compressor on the SQ. The DCA’s don’t show metering on the LED above the fader. The metering on faders are all a single LED that changes colors. AES50 is superior to S-Link in its comparability. Still nowhere near AES-67 or Dante, but better than S-Link. For less money the wing can do everything the SQ6 can do better and included with the console itself, no add-on purchases. Also the 4 main outputs is really cool. I’ve run L/R, Subs, and Side Fills all on 3 main outs and didn’t take a single bus or matrix. When the wing was announced people tried talking me into getting an SQ6 instead at work. I stuck with my gut and went for the Wing. It’s been a long year of firmware updates and app releases, behringer honestly should have probably waited to release it until last month. At this point though there is no reason to get the SQ6 unless you want to work it into already existing Allen & Heath infrastructure. If you are going the A&H route you really need to go all out to make it worth it with a D Live. That said, there is absolutely nothing wrong with the SQ6, just something newer and better is out now. It was a great console, probably the best console in its price range pre-wing. Behringer just really knocked it out of the park with the wing. In my opinion it is the console to get unless you have a much larger budget. Let me know if you have any more questions, I use both of these consoles multiple times a week so I can check on anything you want.
Thank you for an explanation why. Lots of people are looking at upgrades and information on why someone likes one over another is sure to help.
@Zachary Towell you mentioned that the effects on the sq series are extra. Does the sq series not include at least a basic compressor, limiter, parametric eq, graphic eq, noise gate, reverb, & delay out of the box?
First I couldn't hear an difference. Should't watch this on my phone...haha But in the end it was awesome. Thanks a lot fot this Tutorial.
thank you
And i thought my 160hpf was high 😂😂😂😂. Different strokes for diff folks, if it works for him it works for him!
It’s about how you want it to sound
13:20 it's all about the gain reduction value
Perfect distance from the mic that I tell my vocalists is to do is to be able to put your index and middle finger inbetween your lips and the mic.
One inch is excellent advice. Greater than that, you should really know your voice. Closer than that, understand proximity effect and use that to your advantage, as a tool. I have gotten really good over the years at explaining the inverse square law to non technical people.
@@sea-ferring I’m non tech and would love to hear it 😁
@@cindybarge5726 If you are one inch away from the mic and you move another inch away, the amount of sound (power) the mic can pick up goes down by a factor of four. Move another inch away and that decrease is a factor of nine. Another inch and the loss is a factor of sixteen. People who work the mic dramatically either have super powerful voices or are working the mic for show.
Needed❤❤
Nice!
Hi Jack
300hz....? Ouch. Would love to hear your church's sound engineer's thoughts on what it sounds like on a Sunday morning. This is not really a good starting point for your listeners, seems like you might be working around a problem with the room/PA arrangement, (most churches suffer from this unfortunately) Hopefully all gets better!! Thank you
My dude! Where is your pop filter?
Don't remove plosives in processing, get the sound correct at the source.
The foam tops might look tacky, but they work.
Digilive eq setting plis
05:37 Yet another reason to update our X32 to the Wing; access to the “Like” button 😂
AMEN.
Church Sound is not at all easy, make sure you get your room tuned good or by a professional and use reference headphones like Shure SRH 1540s. If you have a separate broadcast setup you absolutely must have an accurate listening position period, no excuses no shortcuts on that. If you skip that step you will have subpar mixes guaranteed.
❤️😍
25:44 or a guitar player uses an effect unit, what causes an aggressive, boxy sound or there is a saxophone player with a bad clip microphone or some crosstalk I have to get rid off.
Pretty often you tell your requests and the artist stops playing in the most wrong moment and doesn't continue.
Jake. I do like your videos a lot but seems like the vocal EQ and compression is quite much. Also to say that someone is wrong about the EQ and compression is not right as each church has their own room acoustics and types of speaker cabinets. I was quite saddened. I could POSSIBLY see the vocal EQ HPF at that level if you had a 10-15 vocalists all singing at the same time on songs but majority of the time, this is not the case.
To each their own.
Digilive eq setting
do you deal with dropouts from those mics?
21:34 that's the Abbey Road reverb.
you wanna hear the difference get a sennheiser ie900 ...holly shit that mix 23:28 sound good with that bass that vocals fire
300 on the HPF?!?
Vocals sounds nasally due to aggresive low cut.
The one with lows sounded better to me
this high cut dough