Great videos! Thank you so much. I wish I could spend a week with you and learn. Everything I've learned is on-the-spot and I know there's so much more I don't know. Right now my trying to figure out compression using my DL16. I've played with it some but don't know if I'm actually doing it correctly because all the videos I've seen are on things other than Master Fader. I scanned your videos but I didn't see any that focused on compression (but I did see one that had a short bit). Did I miss it or will you be making a more in-depth video on using compression on Master Fader? I'm really interested on using it on vocals and then we have a sequence channel that is a mixer of backing vocals, instruments and some effects but they are not level great. It seems the compression has helped with that but, again, just don't know if there is a better way of doing it then what I did. :)
Hi Scott, I am so glad these videos helped you. I have not done a video specifically on compression, however, the video where I show (getting a mix) using Mackie's DC16 Axis controller console and Master Fader does show some stuff about compressing a vocalist who's dynamics are just over the top. That can be seen here... ua-cam.com/video/DQVuC1L2Cs0/v-deo.html There are so many videos about compression on youtube and quite frankly, a compressor can be used to alter the sound in so many ways that some compressors are great for let's say a vocalist but horrible for a snare drum... it is always going to depend on the user's desire and whether or not a compressor will improve or literally ruin the sound. A seasoned pro knows exactly how to set the myriad of settings on any given compressor, but the user who does not know the meaning of the controls and lacks the ability or ears will almost always, scratch that... will ALWAYS mess up the sound as opposed to improving it. You have just caused me to finally come to the realization that I should do a video about the compressor in Master Fader. I will do my best to hone in on users who are not in a multi-million dollar studio with some of the world's greatest compressors. I'll do it. Thanks for watching Scott!
@@user-jx3jp3gb4x haha Thank you for that link. Watching it now and really enjoying it. Yes, I completely understand that there are so many ways to use compression (and gate). I think what I was struggling with was really understanding the effect of threshold, range, attack, release, etc. and seeing it be used with Master Fader and seeing if you pull the threshold bar this far over, you can see/hear what happens and hearing your experience with how you like to set things. All the other videos I saw were different programs and for someone like me, it really helps seeing the actual program I'm using being used. :) You are amazing, I can't thank you enough for the videos you have already created. I'm going to finish watching the video you linked above now. :)
Also watching your mixing tutorial you were able to bring in music from a past show. How was this accomplished. I would like to balance my sound from a recording.
Hi John, I use Mackie's DL32R and the multi-track recording capabilities via an attached USB hard drive. Unfortunately, the DL1608 has no multi-track recording abilities.
Great tutorials, Dan! Thanks for all your work to make and share these! We are getting an Axis system (DL32R w Dante + DC16). Is it possible to play back a multi-channel recording to use for training sound operators, that is, without having live musicians?
Hi Barry, yes that is no problem and a great way to experiment with the sound system as long as everybody understands that the stage volume is missing from the mix :) Contact me through my website if you have any questions or need help. www.kurysound.com
This is a really helpful series of videos, thanks. I was wondering about the gain levels in this video. I’m always afraid to run them in the yellow. Is it okay to do that?
Hi John, I always preach that we should have good solid, healthy levels, and levels as high as hovering in the yellow are great. I am amazed at the amount of headroom and lack of nasty sounding distortion that the Mackie DL series mixers have even when a mic hits the red. You can always experiment with running the Gain higher than you are comfortable with, and after experimenting, you will then know exactly what to expect. If the input level occasionally hits red it is not a problem, if it is red quite a bit of the time, then it should be lowered a smidgeon. I hope that is helpful.
I'm glad the tutorials were helpful. The RTN 1&2 can be used when you connect the DL16S to a computer with the USB connection. You can route audio "from" the computer "to" Return 1 & 2. 1 left and 2 right for stereo.
I like your method of using mutes to select a small reverb or a large reverb. Does that mean you are using same reverb for a variety of sources like vocals, kick, snare, guitar etc. at the same time? I set mine up as one verb for drums, one for acoustic guitar and then I have an outboard verb for vocals.
Hi Paul, as you probably already know, the eighties were swamped with massive OVER producing mixes, everybody who thinks they are "in the know" will tell you that everything needs it's own place in the mix, so mmuch that they talk about "carving out space". I could not agree more in 1985, but today, as far as I am concerned, everything should sound like it is in the same "space". It is acoustically impossible and completely un-natural to the ear to hear a guitar "over there" in a completely different acoustical environment. So, I use one reverb for virtually everything, including kick drum, but very little of course, even bass, but still very little. As is common knowledge, there are no rules so to speak with how to mix sound, most people twist knobs and have no idea what is even happening, they don't even know what to listen for. It's really pretty sad, but to answer your question, I use just one reverb for vocals, guitar, brass, keys drums etc... it is when a ballad comes along and needs the "HUGE" reverb to enhance the emotion of the song. When I hit one of the reverb mute masters, it is muting the reverb's INPUT, not the output. Both reverb outputs are always turned up and unmuted. I hope that helps....:) Have a great day!
I agree with you about reverb when I am mixing the recorded tracks in post for a video. A single reverb will make it sound natural. During the show itself,however, the room's acoustics already bind everything together (for better or for worse.) That's why I figure it's best to keep things in separate reverbs with a strong level going into the reverbs while keeping the returns low for all but the slow ballads. But I'm not dogmatic about it, which is why I also like the simplicity of your method. Actually I rarely have a chance to listen critically during the show because I'm playing bass. I just know I could not find a satisfying reverb program in the DL32R for the vocals, so I patched in an outboard reverb that I was familiar with. A friend mixes for us sometimes - I'll ask him if he would like to try your method. I like your series on Masterfader. You provide a lot of plain-spoken useful information. Thank you. Most of the other videos out there are just marketing hype. I hope you will return to this topic and go even deep in the future. Maybe when the Masterfader 5 is released?
Hi Paul, whatever works best for you :) One of the settings in Master Fader's reverbs will make the reverbs sound really nasty. The Diffusion setting should always be left to the far right, I just do not like using it on these reverbs. I am still using my old Lexicon 200 that I paid nearly 4800 bucks for back in the early eighties for some jobs and it still sounds FANTASTIC!
I'll look into the diffusion setting. I'm using a Lexicon Alex, which was one of their budget models in early the 90s but it sounded better than anything else at the time in that price range. Now it has almost no resale value but it still sounds great.
Mackie designed Master Fader as one app for both tablets and phone. If you are using a phone many of the features CAN NOT even be seen let alone changed. To control everything you must have a tablet.
@@user-jx3jp3gb4x Yes, I just purchased the DL32R. I have not used it live yet. I’m setting it up in preparation. I would just like to practice before a gig. I am not a professional sound man, but I have always done sound for my bands. I’m a bass player. Previously, I used an x-32 and before that various analog boards. Any help would be appreciated.
@@jb_CartriteBand Hi John, if you contact me through my website I can tell you how I can get you tracks for the DL32R. www.kurysound.com "Voice or Text"
Hi Gianni, having your break music on a hard drive is a royal pain, that playback page on Master Fader is horrible... I use an Apple Airport Express which allows me to stream stereo music from one of my iPads or iPhone. The Airport Express has a 3.5 mm stereo headphone output. I use a Hosa cable that has a 3.5mm stereo plug on one end that connects to the Express router's headphone output, then the other end has two 1/4" male plugs that connect to two inputs on the Mackie mixer, it's wonderful! I made a (DJ) mix of songs and each one of these tracks last about an hour. I have four of these tracks in an iTunes playslist called "BREAK MUSIC" Once the event begins I start the Break Music and leave the channels turned down and muted. As soon as I need music, I unmute and raise the volume. I link the two channels so it is one fader for convenience. Apple no longer makes these routers but they are available on eBay. Apple Airport Express... www.ebay.com/itm/Apple-AirPort-Express-600-Mbps-1-Port-10-100-Wireless-N-Router-A1392/264575707053?epid=116452199&hash=item3d99f0e7ad:g:jcoAAOSwHwRd~~tU
@@ZacFerrer Hi Zacarias, you need to connect your DL16S with a USB cable to your computer. If you have a DAW of some kind already like Digital Performer, Logix Pro X, Pro Tools etc, you will need to set the audio interface for that DAW to the DL16S. Each track will need to be set to separate outputs, in other words, track one would be set to DL16S-1 track two in the DAW would be set to DL16S -2 and so on. Then in the DL16S, you need to set the inputs to USB so that the DL16S can "hear" the DAW's channels. In this limited capacity of typing advice... I suggest you look at the manual for the DL16S and using a computer to record. I hope that helps. Dan
Thanks Greg! get some popcorn :) While there are so many different ways to accomplish ultimately the same thing,,, here is my preferred method of drum compression, let me explain. Personally, and I don't mean to sound like I am preaching to the choir but, the drums are supposed to be "PERCUSSIVE" by their nature. To me, the opposite of percussive is mushy :) Compressors have always been used for many different situations, but as far as I am concerned, the two main reasons compression is used in live and recorded sound is to minimize excessive dynamics (soft to loud) or to actually use a very specific compressor brand and model for it's ability to color the sound not only dynamically, but also to gain the benefit of it's tone that it adds while it "does it's thing". Back in the day before digital audio, analog compressors were awesome monsters that we could use to make things sound a certain way. Some of the old compressors were extremely slow at responding to the attack of the sound being compressed, and therefore allowed the initial attack to slip by before the compressor's circuitry was even able to detect whether or not the signal deserved to be lowered, based on our Threshold setting. Some old comps did not have a Threshold knob, instead, they had an input and output knob. If you wanted more compression, you drove more signal into the compressor. The output level was then lowered so as to not overdrive the "return" signal. I am really getting off topic sorry. To answer your question,... for me, I never ever put all the drums into a compressor,... mono or stereo. I do however use juducial amounts of compression on kick and snare separately based on the music genre, but not always. I certainly would not want the overhead cymbal mics or high-hat mic to go into a compressor that is busy compressing kick, snare, toms etc. I firmly believe in using exact compressor settings for each individual input that needs compression. To slap a compressor on all the drums never ever works for me. Here is another analogy that proves my point....let's say we have four vocal mics and they are all routed to a sub group where a single compressor is inserted. Larry has no "mic technique" and suddenly blasts us with excessive volume and he is the very reason that our compressor quickly drops the volume of the "VOCALS" subgroup. That's nice that our audience or congregation did not have to have their ears blown off during his unprofessional dynamics. UNFORTUNATELY though, while he was singing too loud, the other three voices were lost in the mix.... That clearly is NOT what we would want. Just because Larry blasted a few notes, why should Bill, Mary and Lisa's vocal level go down the tubes? They shouldn't, but unfortunately, the compressor is not smart enough to know the difference between Larry or Lisa. Now, there are situations where we can use a parametric EQ to dictate when the compressor should compress, and that is typically called a "side-chain input" or a "trigger input" but I would need to take up a lot more of your time with that. Anyway. If all you wanted to do was throw all your drum mics into a subgroup and slap a compressor on it, that is easy to do and is demonstrated in the link below, but it really depends on why you want to compress all the drum mics the same. Don't fall into the trap of ... "well, everyone uses compression because everyone in pro audio says IT makes THINGS sound better"... really??.... NOT! Another thing to remember is that as good as the compressors are in this Mackie DL32R, or most digital mixers for that matter, they do not have the ability to color the sound nearly as effective as the old DBX, UREI and other well known compressors from back in the old days :) I apologize for dragging this out when all you asked for was how to set up a compressor buss. Compressors are amazing tools, but only when they are set properly. Watch PART 4 of this playlist to see detailed information about compression...Happy mixing! Dan ua-cam.com/video/QpMqoNBskJ0/v-deo.html
My big system that I use for outdoor concerts (and indoors for that matter) have built-in processing in the power amplifiers. I use QSC PLD 4.5 power amps for my bi-amped top main speakers, and the sub amps (same QSC model) also use the built-in processing. I no longer need a separate processor like I used to use. Many people use a DBX or BSS processor, but again, since my amps have all the processing built in I no longer need a speaker processor. My smaller system consists of two single 18" subs and two QSC K12.2 top mains. I use QSC K10 powered speakers for monitors. What mixer are you using? What speakers/subs do you use?
Hi Jeremy, I use an Apple Airport Express Wi-Fi router (not Airport Extreme) which is connected to the DL32R. The Airport Express is so cool, on the side of the router where the connections are, there is a stereo headphone output. I use a Hosa model CMP-153 stereo cable that has a 3.5mm stereo tip-ring-sleeve (TRS) plug that plugs into the headphone output of the Airport Express router. The other end of this stereo cable has two 1/4" plugs that I plug into a couple of inputs on the DL32R,... I happen to use channels 31 & 32. I link these two channels so they are on one convenient stereo fader. I made a playlist in iTunes on my Mac computer that has four songs in it. Each "song" is actually one continuous track that plays a bunch of music that is appropriate for the audience/job, and each track is about an hour long. I start playing this playlist on the same iPad that I use for Master Fader. When I open iTunes on the iPad, there is small red circular icon at the bottom of the playing track. Clicking on this will open a window allowing me to choose where the music in the iPad is routed to. By default, of course, it is routed to the iPad speakers, below that is a list of devices that the music can be routed to, for instance, when I am home, I can route it to the Apple TV in the living room, then the music will stream in stereo digitally to the living room... but I choose my Apple Airport Express that I am using for Master Fader and the DL32R. Immediately, the music stops playing on the iPad's speakers and switches to the Airport Express and shows up on input channels 31 & 32. I keep this music muted until the band goes on break. As soon as they say,,, "we'll be right back after a short break" I unmute the music channel and turn up the volume and badda bing music is playing. I let it play all evening so it is always ready to turn up. No other Wi-Fi router that I know of has this capability except Apple's Airport Express. Apple calls this feature Airplay. Unfortunately though, Apple is no longer manufacturing Wi-Fi routers, but these Apple Airport Express routers are still available to purchase on eBay. If you buy one, make sure it is model MC414LL/A. 2nd Generation. You'll LOVE IT!
you said, "without being connected to the port on the Mackie" what port?, What Mackie mixer? If you want to play stereo music (two channels) wirelessly, that can be done with the use of "Apple's Airplay" which is a feature of their Apple Express Wi-Fi router. If you are not using an Apple Express router, then the only other way to stream music is with a Bluetooth receiver but regardless, it will need to be connected to a couple of inputs on the Mackie mixer. I think you are referring to the multi-track audio recording that I am using in this "Get a Mix PART 8 video" it is a recording that I made during the live job. I did this by connecting a USB hard drive to the USB port on the rear of the DL32R. If you are using any Mackie DL mixer and it is NOT a DL32R, you need to have a computer to record and play back multiple channels simultaneously. The DL1608, DL16S and DL32S can not record multitrack to a connected hard drive like the DL32R can.
I noticed your Main is only about half way up on the dial, I usually start with my master fader at unity and then raise the faders up appropriately. What is the better method?
whatever your preference is is what's best for you. I come from the old analog days and signal/noise ratio was very important with high quality sound and equally important for recording. In the old days with analog consoles, if I set all my amplifier levels at full, that simply meant that at some point in the concert, I may want the full potential of the speakers/amplifiers, and with their gains set all the way up, this allowed me that incredible headroom. It makes absolutely no sense whatsoever to turn my main master up to unity, because I did not like to hear ANYTHING (no noise from the mains) before the input levels were even brought up to begin a mix. I NEVER run my master at unity. I think the only reason most people run their master at unity is because that's what they read and are taught. They typically run the input gains way below a good solid level. Where YOU set the main fader for a your starting point is completely dependent on the speaker system, and it's ability to produce CLEAN, full range sound with power to spare. I can tell you this,,, if you set your main master at unity, and most of the input faders are up high near unity (and blood is not coming out of the ears of the audience, then it is an absolute fact that the input gain was initially set way too low, if it was set properly, you would be blowing people's heads off. I say this after 47 years of studio recording and live concert sound, and I realize that there will be some people post here slamming me, telling me that my process is totally wrong, so be it, let them talk. I have seen just about everything there is to see. I have seen quote "seasoned" touring engineers set gain on input channels with the channel unmuted... Dangerous! anyway, with digital mixers, the output (rush noise) is considerably less than in the olds days, so my theory is not as important,... but it is how I do it. I always have PLENTY fo room to raise the master to make the system considerably louder whenever I want, and the main level meters are never in the red and only occasionally reach yellow.
Hi I notice that there isn't a tutorial on recording the band. Could you explain what I need to do this? Do I need more equipment, or does the dl32r have everything I need? Thanks for your patience.
Hi Julie, Happy Thanksgiving to you! :) The DL32R has everything you need with the exception of a hard drive. There are two ways to record multi-track with the DL32R. You can connect a USB hard drive to the USB "DRIVE" port on the rear of the DL32R and record 32 channels or,.... you can connect a Windows or Mac computer/laptop to the "COMPUTER" port and record 32 channels with a Digital Audio Workstation (DAW) program/app like Logic, Pro Tools, Digital Performer, Reaper etc. The advantage of using a computer is that when the service/concert is finished, you "SAVE" the computer DAW project and then it is immediately ready to mix down to a 2 track stereo audio file. Recording with the computer means the DL32R is no longer needed for anything in the mixing process. All the mixing will take place on the computer with a mouse. The "ROUTING" page of Master Fader is where we "connect the dots", in other words, it is a patch-bay where you pick and choose what audio channels are recorded to the 32 specific USB channels, regardless of whether it is a hard drive or a computer that is recording the service/concert. Connecting a hard drive is extremely simple but is not convenient if you want to be very precise about mixing all the channels afterwards on some studio monitor speakers or a pair of really good headphones. The hard drive recording is convenient if you want to play back the recording into the same exact inputs for what is referred to as a virtual soundcheck. We can go over that in better detail. There is considerably more to explain and it would be much more efficient if we spoke on the phone. I am available Thanksgiving evening around 6pm St. Louis Missouri time (CST) so feel free to call. My phone number can be seen on my website. www.kurysound.com. Please send me a text to that number so I know it is you when my phone rings. I no longer answer the phone if the incoming call is not one of my contacts. So many options these days for reducing our credit card interest or lowering our debt of our student loans...puhleeez ;( I really don't mind you calling. Gobble till you wobble :) Dan
@@user-jx3jp3gb4x Hi Dan Thanks for this. Unfortunately, I live in England, so long conversations via phone would be rather expensive, but your explanation for recording has helped. I now know there is much more to it than just hitting a record button! I think studio recording is yet another skill which, at the moment, I don't have time to learn. I would have to buy the software too. The worship leader wants to be able to record the band., not sure what for yet. if it's just to see what's going on, I guess it can be done on the hard drive which is connected but am I right in thinking the balances will be all over the place. If she wants something more polished then I think I would need to get someone in. Any thoughts? I have a mac book pro.
Hi Julie, I apologize for assuming that you live on this side of the pond :) So, nice that you have a Macbook Pro, a USB hard drive connected to the "DRIVE" port will do great. On the recording page of Master Fader... there are four buttons in the center, at the top to show the status of the connected USB drive: "Status", "Refresh", "Eject" and "Format". If you have never formatted the USB drive, you need to connect it to the DRIVE port and then format it... If Master Fader displays an error, you need to connect the drive to your Mac laptop and use "Disk Utility" to format it to FAT32. Then reconnect it to the DL32R and format it with the DL32R. You will then be good to go. Now, in your "Routing" page of Master Fader, click on the "Input B" tab across the top. Make sure that Ch.1 is connected to USB 1, and Ch 2. is connected to USB 2 and so on all the way through channel 32. After the service or rehearsal is finished, you can click on the "Multichannel Record/Playback" page and in the middle of the page are four more buttons.... A, B, A Tracks and B Tracks. If you click on "A", all 32 input channels will receive audio from the XLR inputs,...I am reasonably confident that it already does. If you click on the "B", all 32 input channels will receive audio from the USB drive provided that is how the routing is assigned... (connect the dots). When you start playback of the recording you did, all of the recorded channels will be routed right back into the same input channels where the live audio came from, every channel will have the same exact EQ, compression, effects etc.,... just like when it was live. So,,,, you can play back all the recorded channels and mix them not live, but from the hard drive. I really do need to make a tutorial on all this and I will,,, :) This is the best time for me to let you know that in each input channel there is the option to choose input A or B as the source of audio for each individual input. "A" is not necessarily the Mic Pre, but it is by default,.... it could be USB, Dante or Mic Pre. Same with the B source. When you play back the hard drive recording, selecting the "B" button is a fast way to change all 32 inputs to the B source instead of having to go through every single input and changing them one at a time. Sorry that was so long but that should get you going, never hesitate to ask for help. It is part of my ministry. Dan
@@user-jx3jp3gb4x Hi Dan. Thanks for a concise, clear instruction. I will keep coming back to this, I'm sure. I now understand how to record and get a decent mix at least. Do you do mastering using the Master Fader?
Hi Julie, great to hear from you... your question is confusing... you can't patch aux 7 to another aux, do you mean you want to patch the Aux 7 mix to a different XLR output? What actually needs to be accomplished?
@@user-jx3jp3gb4x Hi I'll try and be concise. My fellowship is using A7 to send the band mix for Zoom and live stream. We are trying to get the mix right for this, not doing very well to be honest. There is also a camera. I haven't set up the hardware. Already done. The worship leader wants to be able to hear/do the mix that is going out, i.e. what the audience hears on You Tube and zoom. She's using earphones. I know it's not the best idea, but we don't have a specified sound engineer. I am a band member which makes it difficult. So she came up with this idea of linking them. What's the best way to solve the issue given the circumstances? Thanks for your help.
@@JulieJackson1 I am still confused , but now even more... you said.. "There is also a camera. I haven't set up the hardware. Already done. how in the world is the worship leader mixing sound? Isn't he/she supposed to be leading worship? It is impossible to wear headphones in the same room as the service and mix the audio for web. It will always be nothing short of a guessing game. Is anybody mixing sound for the congregation? You then said... "what's the best way to solve this issue....?" So, you want to make Aux 8 the same mix as Aux 7?
Still learning. Thanks again.
Great videos! Thank you so much. I wish I could spend a week with you and learn. Everything I've learned is on-the-spot and I know there's so much more I don't know. Right now my trying to figure out compression using my DL16. I've played with it some but don't know if I'm actually doing it correctly because all the videos I've seen are on things other than Master Fader. I scanned your videos but I didn't see any that focused on compression (but I did see one that had a short bit). Did I miss it or will you be making a more in-depth video on using compression on Master Fader? I'm really interested on using it on vocals and then we have a sequence channel that is a mixer of backing vocals, instruments and some effects but they are not level great. It seems the compression has helped with that but, again, just don't know if there is a better way of doing it then what I did. :)
Hi Scott, I am so glad these videos helped you. I have not done a video specifically on compression, however, the video where I show (getting a mix) using Mackie's DC16 Axis controller console and Master Fader does show some stuff about compressing a vocalist who's dynamics are just over the top. That can be seen here... ua-cam.com/video/DQVuC1L2Cs0/v-deo.html
There are so many videos about compression on youtube and quite frankly, a compressor can be used to alter the sound in so many ways that some compressors are great for let's say a vocalist but horrible for a snare drum... it is always going to depend on the user's desire and whether or not a compressor will improve or literally ruin the sound.
A seasoned pro knows exactly how to set the myriad of settings on any given compressor, but the user who does not know the meaning of the controls and lacks the ability or ears will almost always, scratch that... will ALWAYS mess up the sound as opposed to improving it.
You have just caused me to finally come to the realization that I should do a video about the compressor in Master Fader. I will do my best to hone in on users who are not in a multi-million dollar studio with some of the world's greatest compressors. I'll do it. Thanks for watching Scott!
@@user-jx3jp3gb4x haha Thank you for that link. Watching it now and really enjoying it. Yes, I completely understand that there are so many ways to use compression (and gate). I think what I was struggling with was really understanding the effect of threshold, range, attack, release, etc. and seeing it be used with Master Fader and seeing if you pull the threshold bar this far over, you can see/hear what happens and hearing your experience with how you like to set things. All the other videos I saw were different programs and for someone like me, it really helps seeing the actual program I'm using being used. :) You are amazing, I can't thank you enough for the videos you have already created. I'm going to finish watching the video you linked above now. :)
@@ScottFerence Hi Scott, have fun, I am self taught and always trusted my ears before anything :)
Also watching your mixing tutorial you were able to bring in music from a past show. How was this accomplished. I would like to balance my sound from a recording.
Hi John, I use Mackie's DL32R and the multi-track recording capabilities via an attached USB hard drive. Unfortunately, the DL1608 has no multi-track recording abilities.
dankurydotcom is it possible using the Mackie DL16S?
Great tutorials, Dan! Thanks for all your work to make and share these!
We are getting an Axis system (DL32R w Dante + DC16). Is it possible to play back a multi-channel recording to use for training sound operators, that is, without having live musicians?
Hi Barry, yes that is no problem and a great way to experiment with the sound system as long as everybody understands that the stage volume is missing from the mix :) Contact me through my website if you have any questions or need help. www.kurysound.com
This is a really helpful series of videos, thanks. I was wondering about the gain levels in this video. I’m always afraid to run them in the yellow. Is it okay to do that?
Hi John, I always preach that we should have good solid, healthy levels, and levels as high as hovering in the yellow are great. I am amazed at the amount of headroom and lack of nasty sounding distortion that the Mackie DL series mixers have even when a mic hits the red. You can always experiment with running the Gain higher than you are comfortable with, and after experimenting, you will then know exactly what to expect. If the input level occasionally hits red it is not a problem, if it is red quite a bit of the time, then it should be lowered a smidgeon. I hope that is helpful.
the DL 1608 only has one reverb, The DL32R has two reverbs and one delay.
Thank you for your videos. I have the DL16S mixer. I was wondering if you could tell me what the Return 1 and Return 2 channels are for?
I'm glad the tutorials were helpful. The RTN 1&2 can be used when you connect the DL16S to a computer with the USB connection. You can route audio "from" the computer "to" Return 1 & 2.
1 left and 2 right for stereo.
Thank you.
I like your method of using mutes to select a small reverb or a large reverb. Does that mean you are using same reverb for a variety of sources like vocals, kick, snare, guitar etc. at the same time? I set mine up as one verb for drums, one for acoustic guitar and then I have an outboard verb for vocals.
Hi Paul, as you probably already know, the eighties were swamped with massive OVER producing mixes, everybody who thinks they are "in the know" will tell you that everything needs it's own place in the mix, so mmuch that they talk about "carving out space". I could not agree more in 1985, but today, as far as I am concerned, everything should sound like it is in the same "space". It is acoustically impossible and completely un-natural to the ear to hear a guitar "over there" in a completely different acoustical environment. So, I use one reverb for virtually everything, including kick drum, but very little of course, even bass, but still very little. As is common knowledge, there are no rules so to speak with how to mix sound, most people twist knobs and have no idea what is even happening, they don't even know what to listen for. It's really pretty sad, but to answer your question, I use just one reverb for vocals, guitar, brass, keys drums etc... it is when a ballad comes along and needs the "HUGE" reverb to enhance the emotion of the song. When I hit one of the reverb mute masters, it is muting the reverb's INPUT, not the output. Both reverb outputs are always turned up and unmuted. I hope that helps....:) Have a great day!
I agree with you about reverb when I am mixing the recorded tracks in post for a video. A single reverb will make it sound natural. During the show itself,however, the room's acoustics already bind everything together (for better or for worse.) That's why I figure it's best to keep things in separate reverbs with a strong level going into the reverbs while keeping the returns low for all but the slow ballads. But I'm not dogmatic about it, which is why I also like the simplicity of your method.
Actually I rarely have a chance to listen critically during the show because I'm playing bass. I just know I could not find a satisfying reverb program in the DL32R for the vocals, so I patched in an outboard reverb that I was familiar with. A friend mixes for us sometimes - I'll ask him if he would like to try your method.
I like your series on Masterfader. You provide a lot of plain-spoken useful information. Thank you. Most of the other videos out there are just marketing hype. I hope you will return to this topic and go even deep in the future. Maybe when the Masterfader 5 is released?
Hi Paul, whatever works best for you :) One of the settings in Master Fader's reverbs will make the reverbs sound really nasty. The Diffusion setting should always be left to the far right, I just do not like using it on these reverbs. I am still using my old Lexicon 200 that I paid nearly 4800 bucks for back in the early eighties for some jobs and it still sounds FANTASTIC!
I'll look into the diffusion setting. I'm using a Lexicon Alex, which was one of their budget models in early the 90s but it sounded better than anything else at the time in that price range. Now it has almost no resale value but it still sounds great.
Is there a way to show all the controls on smaller devices? I can't access the eq and other parameters on my phone
Mackie designed Master Fader as one app for both tablets and phone. If you are using a phone many of the features CAN NOT even be seen let alone changed. To control everything you must have a tablet.
Hi Dan. Is there a way to get tracks to practice mixing. I’m new to the mackie but have used an x33. Thanks
I'm not sure what to suggest, what kind of music are you looking for?
@@user-jx3jp3gb4x hi Dan. Perhaps something like what you used in your Demo.
are you using a DL32R?
@@user-jx3jp3gb4x Yes, I just purchased the DL32R. I have not used it live yet. I’m setting it up in preparation. I would just like to practice before a gig. I am not a professional sound man, but I have always done sound for my bands. I’m a bass player. Previously, I used an x-32 and before that various analog boards. Any help would be appreciated.
@@jb_CartriteBand Hi John, if you contact me through my website I can tell you how I can get you tracks for the DL32R. www.kurysound.com "Voice or Text"
How is your setup for playing your ipad music for intermissions? Do you have a hard drive connected to the mixer?
Hi Gianni, having your break music on a hard drive is a royal pain, that playback page on Master Fader is horrible... I use an Apple Airport Express which allows me to stream stereo music from one of my iPads or iPhone. The Airport Express has a 3.5 mm stereo headphone output. I use a Hosa cable that has a 3.5mm stereo plug on one end that connects to the Express router's headphone output, then the other end has two 1/4" male plugs that connect to two inputs on the Mackie mixer, it's wonderful! I made a (DJ) mix of songs and each one of these tracks last about an hour. I have four of these tracks in an iTunes playslist called "BREAK MUSIC" Once the event begins I start the Break Music and leave the channels turned down and muted. As soon as I need music, I unmute and raise the volume. I link the two channels so it is one fader for convenience. Apple no longer makes these routers but they are available on eBay. Apple Airport Express... www.ebay.com/itm/Apple-AirPort-Express-600-Mbps-1-Port-10-100-Wireless-N-Router-A1392/264575707053?epid=116452199&hash=item3d99f0e7ad:g:jcoAAOSwHwRd~~tU
How do you control the music without a band playing live? I know you have it recorded but I dont know how to mix it using a DAW
I can not answer your question without knowing what DL mixer you are using
@@user-jx3jp3gb4x DL16S
@@ZacFerrer Hi Zacarias, you need to connect your DL16S with a USB cable to your computer. If you have a DAW of some kind already like Digital Performer, Logix Pro X, Pro Tools etc, you will need to set the audio interface for that DAW to the DL16S. Each track will need to be set to separate outputs, in other words, track one would be set to DL16S-1 track two in the DAW would be set to DL16S -2 and so on. Then in the DL16S, you need to set the inputs to USB so that the DL16S can "hear" the DAW's channels. In this limited capacity of typing advice... I suggest you look at the manual for the DL16S and using a computer to record. I hope that helps. Dan
How would you set up a drum compression buss? Great video.
Thanks Greg! get some popcorn :) While there are so many different ways to accomplish ultimately the same thing,,, here is my preferred method of drum compression, let me explain. Personally, and I don't mean to sound like I am preaching to the choir but, the drums are supposed to be "PERCUSSIVE" by their nature. To me, the opposite of percussive is mushy :) Compressors have always been used for many different situations, but as far as I am concerned, the two main reasons compression is used in live and recorded sound is to minimize excessive dynamics (soft to loud) or to actually use a very specific compressor brand and model for it's ability to color the sound not only dynamically, but also to gain the benefit of it's tone that it adds while it "does it's thing".
Back in the day before digital audio, analog compressors were awesome monsters that we could use to make things sound a certain way. Some of the old compressors were extremely slow at responding to the attack of the sound being compressed, and therefore allowed the initial attack to slip by before the compressor's circuitry was even able to detect whether or not the signal deserved to be lowered, based on our Threshold setting. Some old comps did not have a Threshold knob, instead, they had an input and output knob. If you wanted more compression, you drove more signal into the compressor. The output level was then lowered so as to not overdrive the "return" signal. I am really getting off topic sorry.
To answer your question,... for me, I never ever put all the drums into a compressor,... mono or stereo. I do however use juducial amounts of compression on kick and snare separately based on the music genre, but not always. I certainly would not want the overhead cymbal mics or high-hat mic to go into a compressor that is busy compressing kick, snare, toms etc. I firmly believe in using exact compressor settings for each individual input that needs compression. To slap a compressor on all the drums never ever works for me. Here is another analogy that proves my point....let's say we have four vocal mics and they are all routed to a sub group where a single compressor is inserted. Larry has no "mic technique" and suddenly blasts us with excessive volume and he is the very reason that our compressor quickly drops the volume of the "VOCALS" subgroup. That's nice that our audience or congregation did not have to have their ears blown off during his unprofessional dynamics. UNFORTUNATELY though, while he was singing too loud, the other three voices were lost in the mix.... That clearly is NOT what we would want. Just because Larry blasted a few notes, why should Bill, Mary and Lisa's vocal level go down the tubes? They shouldn't, but unfortunately, the compressor is not smart enough to know the difference between Larry or Lisa. Now, there are situations where we can use a parametric EQ to dictate when the compressor should compress, and that is typically called a "side-chain input" or a "trigger input" but I would need to take up a lot more of your time with that. Anyway. If all you wanted to do was throw all your drum mics into a subgroup and slap a compressor on it, that is easy to do and is demonstrated in the link below, but it really depends on why you want to compress all the drum mics the same. Don't fall into the trap of ... "well, everyone uses compression because everyone in pro audio says IT makes THINGS sound better"... really??.... NOT! Another thing to remember is that as good as the compressors are in this Mackie DL32R, or most digital mixers for that matter, they do not have the ability to color the sound nearly as effective as the old DBX, UREI and other well known compressors from back in the old days :) I apologize for dragging this out when all you asked for was how to set up a compressor buss. Compressors are amazing tools, but only when they are set properly. Watch PART 4 of this playlist to see detailed information about compression...Happy mixing! Dan
ua-cam.com/video/QpMqoNBskJ0/v-deo.html
dankurydotcom Great response thanks for taking the time answer my question.👍
anytime Greg! :)
As relatively new to the master fader , how do create a second reverb channel ? i am using the dl1608 is it possible ?
sadly, the DL1608 only has one reverb, the DL32R has two reverbs and one delay.
How do u set your front of sound to sound like this? Crossover etc. I always have trouble setting front of sound, what do u use
My big system that I use for outdoor concerts (and indoors for that matter) have built-in processing in the power amplifiers. I use QSC PLD 4.5 power amps for my bi-amped top main speakers, and the sub amps (same QSC model) also use the built-in processing. I no longer need a separate processor like I used to use. Many people use a DBX or BSS processor, but again, since my amps have all the processing built in I no longer need a speaker processor. My smaller system consists of two single 18" subs and two QSC K12.2 top mains. I use QSC K10 powered speakers for monitors. What mixer are you using? What speakers/subs do you use?
How did you link that break music to a channel?
Hi Jeremy, I use an Apple Airport Express Wi-Fi router (not Airport Extreme) which is connected to the DL32R. The Airport Express is so cool, on the side of the router where the connections are, there is a stereo headphone output. I use a Hosa model CMP-153 stereo cable that has a 3.5mm stereo tip-ring-sleeve (TRS) plug that plugs into the headphone output of the Airport Express router. The other end of this stereo cable has two 1/4" plugs that I plug into a couple of inputs on the DL32R,... I happen to use channels 31 & 32.
I link these two channels so they are on one convenient stereo fader. I made a playlist in iTunes on my Mac computer that has four songs in it. Each "song" is actually one continuous track that plays a bunch of music that is appropriate for the audience/job, and each track is about an hour long. I start playing this playlist on the same iPad that I use for Master Fader. When I open iTunes on the iPad, there is small red circular icon at the bottom of the playing track. Clicking on this will open a window allowing me to choose where the music in the iPad is routed to. By default, of course, it is routed to the iPad speakers, below that is a list of devices that the music can be routed to, for instance, when I am home, I can route it to the Apple TV in the living room, then the music will stream in stereo digitally to the living room... but I choose my Apple Airport Express that I am using for Master Fader and the DL32R. Immediately, the music stops playing on the iPad's speakers and switches to the Airport Express and shows up on input channels 31 & 32. I keep this music muted until the band goes on break. As soon as they say,,, "we'll be right back after a short break" I unmute the music channel and turn up the volume and badda bing music is playing. I let it play all evening so it is always ready to turn up. No other Wi-Fi router that I know of has this capability except Apple's Airport Express. Apple calls this feature Airplay. Unfortunately though, Apple is no longer manufacturing Wi-Fi routers, but these Apple Airport Express routers are still available to purchase on eBay. If you buy one, make sure it is model MC414LL/A. 2nd Generation. You'll LOVE IT!
How do you make the music from the ipad play while its wireless? Without being connected to the port on the Mackie?
you said, "without being connected to the port on the Mackie" what port?, What Mackie mixer? If you want to play stereo music (two channels) wirelessly, that can be done with the use of "Apple's Airplay" which is a feature of their Apple Express Wi-Fi router. If you are not using an Apple Express router, then the only other way to stream music is with a Bluetooth receiver but regardless, it will need to be connected to a couple of inputs on the Mackie mixer. I think you are referring to the multi-track audio recording that I am using in this "Get a Mix PART 8 video" it is a recording that I made during the live job. I did this by connecting a USB hard drive to the USB port on the rear of the DL32R. If you are using any Mackie DL mixer and it is NOT a DL32R, you need to have a computer to record and play back multiple channels simultaneously. The DL1608, DL16S and DL32S can not record multitrack to a connected hard drive like the DL32R can.
I noticed your Main is only about half way up on the dial, I usually start with my master fader at unity and then raise the faders up appropriately. What is the better method?
whatever your preference is is what's best for you. I come from the old analog days and signal/noise ratio was very important with high quality sound and equally important for recording. In the old days with analog consoles, if I set all my amplifier levels at full, that simply meant that at some point in the concert, I may want the full potential of the speakers/amplifiers, and with their gains set all the way up, this allowed me that incredible headroom. It makes absolutely no sense whatsoever to turn my main master up to unity, because I did not like to hear ANYTHING (no noise from the mains) before the input levels were even brought up to begin a mix. I NEVER run my master at unity. I think the only reason most people run their master at unity is because that's what they read and are taught. They typically run the input gains way below a good solid level. Where YOU set the main fader for a your starting point is completely dependent on the speaker system, and it's ability to produce CLEAN, full range sound with power to spare.
I can tell you this,,, if you set your main master at unity, and most of the input faders are up high near unity (and blood is not coming out of the ears of the audience, then it is an absolute fact that the input gain was initially set way too low, if it was set properly, you would be blowing people's heads off. I say this after 47 years of studio recording and live concert sound, and I realize that there will be some people post here slamming me, telling me that my process is totally wrong, so be it, let them talk. I have seen just about everything there is to see. I have seen quote "seasoned" touring engineers set gain on input channels with the channel unmuted... Dangerous! anyway, with digital mixers, the output (rush noise) is considerably less than in the olds days, so my theory is not as important,... but it is how I do it. I always have PLENTY fo room to raise the master to make the system considerably louder whenever I want, and the main level meters are never in the red and only occasionally reach yellow.
dankurydotcom so I should start my master fader at about half way up? I think that would give me more control on my foh
try it and see :) If your Gain levels are set nice and solid, you will be able to run the input faders much higher.
Hi I notice that there isn't a tutorial on recording the band. Could you explain what I need to do this? Do I need more equipment, or does the dl32r have everything I need? Thanks for your patience.
Hi Julie, Happy Thanksgiving to you! :) The DL32R has everything you need with the exception of a hard drive. There are two ways to record multi-track with the DL32R. You can connect a USB hard drive to the USB "DRIVE" port on the rear of the DL32R and record 32 channels or,.... you can connect a Windows or Mac computer/laptop to the "COMPUTER" port and record 32 channels with a Digital Audio Workstation (DAW) program/app like Logic, Pro Tools, Digital Performer, Reaper etc.
The advantage of using a computer is that when the service/concert is finished, you "SAVE" the computer DAW project and then it is immediately ready to mix down to a 2 track stereo audio file. Recording with the computer means the DL32R is no longer needed for anything in the mixing process. All the mixing will take place on the computer with a mouse.
The "ROUTING" page of Master Fader is where we "connect the dots", in other words, it is a patch-bay where you pick and choose what audio channels are recorded to the 32 specific USB channels, regardless of whether it is a hard drive or a computer that is recording the service/concert. Connecting a hard drive is extremely simple but is not convenient if you want to be very precise about mixing all the channels afterwards on some studio monitor speakers or a pair of really good headphones. The hard drive recording is convenient if you want to play back the recording into the same exact inputs for what is referred to as a virtual soundcheck. We can go over that in better detail. There is considerably more to explain and it would be much more efficient if we spoke on the phone. I am available Thanksgiving evening around 6pm St. Louis Missouri time (CST) so feel free to call. My phone number can be seen on my website. www.kurysound.com. Please send me a text to that number so I know it is you when my phone rings. I no longer answer the phone if the incoming call is not one of my contacts. So many options these days for reducing our credit card interest or lowering our debt of our student loans...puhleeez ;( I really don't mind you calling. Gobble till you wobble :) Dan
@@user-jx3jp3gb4x Hi Dan Thanks for this. Unfortunately, I live in England, so long conversations via phone would be rather expensive, but your explanation for recording has helped. I now know there is much more to it than just hitting a record button! I think studio recording is yet another skill which, at the moment, I don't have time to learn. I would have to buy the software too. The worship leader wants to be able to record the band., not sure what for yet. if it's just to see what's going on, I guess it can be done on the hard drive which is connected but am I right in thinking the balances will be all over the place. If she wants something more polished then I think I would need to get someone in. Any thoughts? I have a mac book pro.
@@user-jx3jp3gb4x Oh and happy thanksgiving!
Hi Julie, I apologize for assuming that you live on this side of the pond :) So, nice that you have a Macbook Pro, a USB hard drive connected to the "DRIVE" port will do great. On the recording page of Master Fader... there are four buttons in the center, at the top to show the status of the connected USB drive: "Status", "Refresh", "Eject" and "Format". If you have never formatted the USB drive, you need to connect it to the DRIVE port and then format it... If Master Fader displays an error, you need to connect the drive to your Mac laptop and use "Disk Utility" to format it to FAT32. Then reconnect it to the DL32R and format it with the DL32R. You will then be good to go. Now, in your "Routing" page of Master Fader, click on the "Input B" tab across the top. Make sure that Ch.1 is connected to USB 1, and Ch 2. is connected to USB 2 and so on all the way through channel 32.
After the service or rehearsal is finished, you can click on the "Multichannel Record/Playback" page and in the middle of the page are four more buttons.... A, B, A Tracks and B Tracks. If you click on "A", all 32 input channels will receive audio from the XLR inputs,...I am reasonably confident that it already does. If you click on the "B", all 32 input channels will receive audio from the USB drive provided that is how the routing is assigned... (connect the dots). When you start playback of the recording you did, all of the recorded channels will be routed right back into the same input channels where the live audio came from, every channel will have the same exact EQ, compression, effects etc.,... just like when it was live. So,,,, you can play back all the recorded channels and mix them not live, but from the hard drive. I really do need to make a tutorial on all this and I will,,, :) This is the best time for me to let you know that in each input channel there is the option to choose input A or B as the source of audio for each individual input. "A" is not necessarily the Mic Pre, but it is by default,.... it could be USB, Dante or Mic Pre. Same with the B source. When you play back the hard drive recording, selecting the "B" button is a fast way to change all 32 inputs to the B source instead of having to go through every single input and changing them one at a time. Sorry that was so long but that should get you going, never hesitate to ask for help. It is part of my ministry. Dan
@@user-jx3jp3gb4x Hi Dan. Thanks for a concise, clear instruction. I will keep coming back to this, I'm sure. I now understand how to record and get a decent mix at least. Do you do mastering using the Master Fader?
Hi again. I've been asked to patch send 7 to send 8. Please could you advise?
Hi Julie, great to hear from you... your question is confusing... you can't patch aux 7 to another aux, do you mean you want to patch the Aux 7 mix to a different XLR output? What actually needs to be accomplished?
@@user-jx3jp3gb4x Hi I'll try and be concise. My fellowship is using A7 to send the band mix for Zoom and live stream. We are trying to get the mix right for this, not doing very well to be honest. There is also a camera. I haven't set up the hardware. Already done. The worship leader wants to be able to hear/do the mix that is going out, i.e. what the audience hears on You Tube and zoom. She's using earphones. I know it's not the best idea, but we don't have a specified sound engineer. I am a band member which makes it difficult. So she came up with this idea of linking them. What's the best way to solve the issue given the circumstances? Thanks for your help.
@@JulieJackson1 I am still confused , but now even more... you said.. "There is also a camera. I haven't set up the hardware. Already done.
how in the world is the worship leader mixing sound? Isn't he/she supposed to be leading worship? It is impossible to wear headphones in the same room as the service and mix the audio for web. It will always be nothing short of a guessing game. Is anybody mixing sound for the congregation? You then said... "what's the best way to solve this issue....?" So, you want to make Aux 8 the same mix as Aux 7?
@@user-jx3jp3gb4x I think it might be time to email you rather than discuss in this public arena, if that is ok with you. Where can I find it?
@@JulieJackson1 go to my website www.kurysound.com
DL16S?,,,,,,,,,
DL16S? is that a question?