#UNDERSTANDING MIXING LIVE SOUND GENERATOR#

I would practice this a bunch, the better you can get it. Have somebody play one and see if you can guess what frequency it is, just train your ear. I encourage you, teo, sit around with you can get aps to do this for free, sit around with different frequencies and just quiz yourself. Some of you might not be able to hear, but you feel it or kind of sense it I would. And then even if you can hear this, we go all the way up to sixteen k.

This is where it starts to get a little out of control. So if you hear that's that frequency that's four que andan obviously could go up to ten thousand. Ith like four hundred hurts so this is what four hundred hertz sounds like ah that's four hundred I would listen to that and train yourself to hear what does that sound like then let's go up to some of the big ones will do eight hundred ah so that's what you're like hi part of your low meds we'll do one k that's that's kind of your one case signal will do for k.

#UNDERSTANDING MIXING LIVE SOUND GENERATOR#

To offer a simple example, a solo vocal mic, piano, bass, and drums may be in one VCA group, with a different solo vocal mic, guitar, bass, and drums on another VCA group fader.Okay so things to consider these air some final thoughts to consider about mixing live sound your training is super super helpful so how do you your train is an engineer understanding what frequency sound like on dh knowing be able to hear feedback or here freak a frequency in an instrument and immediately know what frequency that is is incredibly important especially when you're ringing out monitors so you need to be able to hear an associate that it's really simple to train yourself I'm gonna go ahead and show you really quick even just on a council right here if I bring up miscellaneous I have a um sine wave generator and I'm going to send um just random frequencies to uh to the mix to be able to train my ear which frequencies I'm hearing so I can start to hear which one's air feeding back so I'm gonna route this oscillator out to mainz um just a little warning here this is going to be kind of a loud signal so we'll start with uh we'll start with kind of low frequencies will start w. The drums and percussion might be on one VCA group fader while the entire rhythm section-drums, percussion, bass, and piano-is on a separate fader.ДЇor further sophistication, if different groups of instruments and voices must be made more or less prominent in different pieces of music, they can be grouped accordingly and controlled on separate VCA faders. In the same way, instruments can be grouped. This allows sophisticated control of instruments and voices.ДЇor example, a VCA group could be created for all of the choir microphones, with a second VCA group controlling only those mics used by the soloists, allowing the overall vocal level to be controlled with one fader and the balance of the solo voices against that group with another. VCA groups can also be overlapping, with inputs assigned to more than one group. The more audio group faders available, the more monitor sends that can be set up on a front of house console doing double-duty as a monitor desk. There are a number of mixing consoles available that allow the audio group faders to be used to control auxiliary send levels and create stage monitor mixes with fader control and insert capabilities. Panning, routing, and pre-fade auxiliary sends are therefore unaffected by the VCA.Д¬ontrolling stereo or LCR groups using VCA group faders has the additional benefit of freeing-up audio subgroup faders. ThatвЂ™s because, in a VCA console, the VCA is located in the channel circuit before the panpot. Whereas it would require two audio subgroup channels to control input channels with stereo panning (one subgroup panned to the left, the other to the right), or three for LCR panning, a single VCA group fader can control such inputs. Thus a single compressor can be applied to multiple choir vocal microphones, or to an entire drumkit.Д«ut audio subgroups also have disadvantages when compared to VCA groups. Most importantly, where circumstances do not allow individual signal processing channels to be used on each input channel, outboard devices can be inserted into groups of inputs. In distributed loudspeaker systems, the audio groups can be mixed into the matrix output system to feed separate loudspeaker clusters or locations. An audio subgroup is absolutely essential in certain circumstances.ДЇor example, groups of inputs can be grouped, submixed, and sent to a recording device in situations where there are insufficient tracks available to record each channel from the respective direct outputs.

Understanding mixing live sound