The result of this method is the strongest signal in each channel and with faders all over the place. They may or may not end up at unity. The second method of gain setting, the one I use, follows a live environment mentality which says the volume balance channel volumes in relation to each other for one song are often different in the next song and therefore, fader control is very important and it helps to have a BASELINE balance.
To use this method, set the fader to unity and increase the gain until the volume level sounds right for the room and for a general mix. The result is faders all set at unity with a general volume balance between channels. For example, lead vocal always on top. Therefore, when moving from one song mix to the next, subtle volume changes can easily be made with the most granular control remember fader controls are logarithmic.
Is it the strongest signal? Maybe, maybe not. Will it be a noticeable strength difference and produce a sub-par mix? There are times when we have little-to-no control over the source.
For example, someone hands you a CD they burned from a file they made after they did who-knows-what to it. In such cases, set the gain for the strongest signal and then set the fader. The key to making method 2 work is using proper microphone selection and usage for the cleanest strongest signal from the stage.
The third method of gain setting goes a completely different route and uses the location of the faders to indicate where the channel should sit in the mix. For example, the lead vocal channel fader is higher in relation to all other channels. A lead guitar fader would be lower than the lead vocal but higher than the keyboard. By looking at the faders, you are seeing where everything sits in the mix. Only then do you increase the gain. They use a method they were taught or what they found works best, such as with the third method.
Mic selection and usage is critical for setting good gain so check out this post on microphone properties. Download the FREE. Church Audio.
Soundcheck Checklist. Run a massively more productive soundcheck with happier musicians, more time to mix, and no more stressing out over what to do next. You're moments from getting your FREE checklist. Notify me of followup comments via e-mail. You can also subscribe without commenting. Am I wrong? If you have gain problems that might be overlooked in the house sound, they would likely be evident in the recording. You might have a hot signal coming in.
In that case, use the channel PAD option that applies roughly a 20dB cut to the incoming signal level. Then set the gain. Hey, at what level should you record to get the best playback before you start adding gain??? No microphones. I use studio one 3 pro. The standard is gain before feedback. So turn up the gain until you hear feedback and then back off the gain a little. Question, I have been mixing for many years with setting good input gain before driving fader for volume.
I find this way to be more responsive and allow me a greater headroom for monitor sends mixing FIH and monitors and also sends to audio records.
Mixing channels at unity and then setting gain for the room never allows me sufficient headroom for monitor sends, records etc.
Mixing one console for FOH, monitors and records pushes me towards method 1, channel fader at bottom then gain set, then volume drive, makes for a messy high maintenance mix but allows me ample headroom to send off to monitors, records.
Any advice, seem to be stuck in my ways but open to advancing my mix and balancing gain more fairly for the system,. Do what works for you. You might try splitting the inputs so you can route one to each, FOH mixer and a second monitor mixer for gain control.
Outside of that, do what you can. I want to know what are the source line-ups and levels adjusted to the broadcast standard and any deviation solved effectively and prom. Did you try moving the cable into the mixer to three different channels or did you plug in the mic to three different stage jacks.
Great article! It did not go well. Everything was too loud and muddy. Method one appeals to me as well. Hello Tim, so far, which method has worked for you the best?
The reason I am asking is because I been getting a lot of feedback low rumbling on my mixes. Then I start the pre-rehearsal sound check in the order I have things set up on my board: Drums, Bass, Guitars usually Electric first , Keys and Piano.
I adjust the levels with the gain to ensure I have a solid signal to play with every bit of processing costs a little bit of signal! I do the same with the vocals, but instead of starting with the Lead Worshiper, I work my stage left to right. Once my gains have been set I mute my mains and and set levels on the floor wedges.
I lower the volume on the wedges to start and work on getting their mix right. Once I have those levels set I can raise the volume to a reasonable level and unmute the mains. This is where I begin to get a starting level for each channel in the mains. I hope this helps! When I went to school for audio engineering 30 years ago we were taught the A. I show all of my new volunteers this article somewhere along the lines of training. Great stuff. Thank you for writing this!
Hello, If I connect 3 condenser microphones already with phantom power to a mixer, with a max gain level of 60 dbs per channel that is what it says around each knob , will the 60 dbs be divided into the 3 mic channels or each channel will have a max of 60 dbs gain?
Thank you. Method 2 or 3 work best if you are only mixing front of house and not doing both house and monitors from the same console. I have had numerous times where I have used method 2 or 3 and had someone on stage say they want more keyboard or whatever in their monitor. They just wanted more keyboards. But I could not turn the Aux send up anymore. The only place I could get more level was at the keyboard channel preamp, but to change that would affect the house mix.
Eventually I changed my method to number 1. I get as much gain as I can without clipping at the preamp on all channels and then set faders wherever they need to be for a channel to sound right in the mix. It sounds good! I find things sound more dynamic and have more punch this way. Plus I have the added benefit of being able to have strong signals to the monitors that I do not get from method 2 and 3. Thank you for this post.
I have had a similar experience. Thank you again. Glad you found it helpful. I forgot to mention in my previous comment that the reason you may not be able to get enough signal to the monitors using methods 2 and 3, is because the Keyboard channel AUX send level to the monitors is dependent on the Keyboard channel preamp gain setting. If it is set low for it to sound right in the Main Mix you, you may not be able to get enough level to the monitors.
Each channels preamp gain setting is the foundation on which everything else that comes later in the signal path is built. Close the menu. Rolling Stone. Log In. To help keep your account secure, please log-in again. You are no longer onsite at your organization. Please log in. For assistance, contact your corporate administrator. Arrow Created with Sketch. Calendar Created with Sketch. Path Created with Sketch.
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