Here are some interesting videos related to PA and sound reinforcement systems. Wikipedia defines that a public address system (PA system) is an electronic system comprising microphones, amplifiers, loudspeakers, and related equipment. It increases the apparent volume (loudness) of a human voice, musical instrument, or other acoustic sound source or recorded sound or music. The term, sound reinforcement system generally means a PA system specifically for live music or performance. A sound reinforcement system for a rock concert or other large event in a stadium may be very complex.
A brief history of live sound reinforcement
Stage Left Audio – Event Video 11
Dave Rat about his sound engineering for the Red Hot Chili Peppers live tour 2016
LIVE SOUND SUBS SUBWOOFER PLACEMENT & CONFIGURATION: LR, Center, Cardioid, End Fire (Pt1)
Look inside D&B, L’Acoustics and MicroWedge Monitors
DJ Sub and Speaker Placement For Dummies
Cardioid Subwoofers and Nexo Technology Part 1
Time Lapse of a Large PA Audio Sound System Setup for Rock & Roll
#38 – Arena line array system walk-through
How to Set Up a Simple PA System
Sound System Tuning Step-by-Step using TRACT and Smaart
Audio 101- How to do a pro sound check.
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Tomi Engdahl says:
What Does Audio Transformer Overload Sound Like?
https://www.youtube.com/watch?v=RRMwsO-po6I
In the YouTube video titled “What Does Audio Transformer Overload Sound Like?”, the speaker demonstrates the effects and sounds of an audio transformer overload, testing various audio transformer boxes, and battling with mixing consoles clipping while testing. The video also examines the difference between using a mic level or line level transformer for low-level signals and tests whether a line level transformer for a mic level signal causes any impact or distortion. The speaker concludes that the mic level transformer will only cover low-level signals, whereas the line level transformer can cover the entire scope of low to high levels, and while it may cost more money, it can be more useful in the long run. Overall, the demonstration shows how to listen for distortion and overload in audio transformers.
Tomi Engdahl says:
Kick Snare Bass Subgroup Compression & EFX Demo
https://www.youtube.com/watch?v=Q_r7DERMyjk
Lets have a listen to using subgroup compression on kick, snare and bass. Also lets listen to snare reverb sent to groups vs left and right.
This video demonstrates the use of subgroup compression for mixing kick and snare with a bass guitar, with a focus on fast attack and short release and hold times for preventing pumping sounds. The bus master feature is shown for controlling individual instrument groups such as the kick and snare or guitar, and the importance of running effects like reverb associated with an instrument back into the same groups is explained. The effects of compression and reverb on the kick snare bass subgroup are demonstrated, with examples of how the reverb dominates the mix when pushed hotter and completely drops out when pushed lower.
Tomi Engdahl says:
Verifying a Line Array system with the Sound Bullet
https://www.youtube.com/watch?v=BkxXASWdowA
The Sound Bullet is the original rechargeable pocket-size I-O audio tester. A powerful preventative and troubleshooting multi-tool that is robust, reliable and portable.
The 5 core functions include:
Generator
Internal Speaker
Phantom Power Check
XLR Input Metering
XLR Cable Tester
The Sound Bullet should be used as a preventative tool for quick diagnosis and troubleshooting problems with complex audio setups.
Testing a line array sound system. Test can be done by one person:
1. Turn on sound bullet – which generates pink noise right away to the XLR output
2. Select appropriate output level: -40dBu or -20dBu
3. Plug the Sound Bullet into the speaker’s input
4. Go round to the front of the speaker and check for sound presence
5. Repeat process for rest of the speakers expecting the same result from each element
Tomi Engdahl says:
Sound System Signal Flow Evolution
https://www.youtube.com/watch?v=uRi-6fg85Go
Lets look at the evolution of basic signal flow in sound systems and the advantages of bi-amplification and separate sub sends
Aux Fed Subwoofers Are Better – Because of How Mics Work
https://www.youtube.com/watch?v=hpFK1XOZuUg
I explain and demo the issues with subwoofers connected to the left right outputs and show why controlling what inputs are sent to the subs is preferable, due to microphone limitations.
Tomi Engdahl says:
Two Subs, Six Setups | Killer Low End For Portable DJ’s and Small Concerts
https://www.youtube.com/watch?v=I9SJ36FtEyY
00:00 – Intro
02:22 – 1 – Stacked center, omni pattern
04:45 – 2 – Side by side center, omni pattern
06:12 – 3 – Half wavelength crossover center, figure 8 pattern
09:39 – 4 – Left/Right spaced subs
12:43 – 5 – Inline gradient cardioid center
15:27 – 6 – Inverted gradient stack center
Four Subwoofers, Seven Setups For Live Sound | Groundstacked Edition
https://www.youtube.com/watch?v=Q4ny703u-ks
00:00 – Intro
01:59 – Session File Overview
02:50 – 1 – Straight Across Stage Front, Half Wavelength Spacing at 100Hz
04:58- 2 – Center Cube
06:01 – 3 – Left/Right Pairs, Close Together
06:58 – 4 – Left/Right Pairs, Half Wavelength Spacing at 100Hz
08:22 – 5 – Left/Right Two Element Inline Gradient Cardioid Array, Angled 45 Degrees Out
10:17 – 6 – Center Four Element Inline Gradient Cardioid Array, Close Spacing
12:10 – 7 – Center Four Element Inline Gradient Cardioid Array, Half Wavelength Spacing at 100Hz
14:01 – Recap
Tomi Engdahl says:
Why put ALL your subwoofers on one side??
https://www.youtube.com/watch?v=vFliN9F_MNY
Why do we put all the subs on one side of the stage for events like this? Why not just do stereo subs? Because, this sounds better. Here’s why…
Tomi Engdahl says:
Bassnectar 360 Subwoofer Sound Design
https://www.youtube.com/watch?v=SKjaGkZ8hSQ
Lets take a look at optimizing a 360 Degree Arena Cardioid Subwoofer Coverage with a focus on extreme cancellation venue center.
00:00 Intro and description
02:15 Soundvision prediction 5 subs forward facing
04:22 40 sub ring
06:05 5 subs with 3 rear subs with no delay
06:54 5 subs with 3 rear subs end-fire
08:45 5 subs with 3 rear subs cardioid
10:08 Adding in full ring in cardioid
13:03 Magnitude of cancellation and real world
13:57 Temperature make a difference
15:59 Dealing with real time adjustment of cancellation
17:50 Photos of show
Tomi Engdahl says:
Design End-Fire or Cardioid Subwoofer Array in 5 Easy Steps!
https://www.youtube.com/watch?v=8GidcrZyJT0
Here is a quick video on how to tune and place subs for an end-fire or cardioid array
This includes all the math you need to create an effective directional sub array with as few as two subs
Tomi Engdahl says:
Which Speaker Sounds the Most Realistic?
https://www.youtube.com/watch?v=DetAlPFa7gc
Speakers Don’t Sound Real, Lets Build One That Does
https://www.youtube.com/watch?v=VLkQSSydXwk
Speaker point sound inward toward the listener Instruments radiate sound outward away from the instrument.
Lets build a speaker that radiates sound like an instrument does and see what it sounds like.
“The video creator aims to build a speaker that sounds realistic and replicates how sound travels from an acoustic guitar, rather than the standard stereo sound. The 4D speaker is made of four different speakers that radiate sound from different directions in PVC tubes, delivering a more realistic sound. The builder emphasizes the importance of generating sound in all directions, rather than just left-right stereo sound, which can be achieved using multiple 4D speakers to recreate the sound of different instruments in a band. The builder discusses the possibility of creating a true four-dimensional audio sound by using multiple tracks per speaker, but the biggest challenge would be for musicians to release individual tracks for the various speakers. Despite the challenges, the speaker is excited about pushing audio beyond just surround sound or inward-facing speakers.”
Tomi Engdahl says:
Why Music Festivals Sound Better Than Ever | WIRED
https://www.youtube.com/watch?v=8c-gD4mwI8A
Did you know that a simple speaker completely transformed modern music festivals? A vertical line array is a loudspeaker system that stacks speakers on top of each other so that sound is more evenly distributed on a horizontal plane. To learn more about line array, WIRED spoke with sound engineer Dave Rat. Dave, who has provided audio for Coachella since 2001, breaks down exactly how these speakers work, and why modern music festivals sound so much better than they used to.
Tomi Engdahl says:
Recording A Voice Over Demo Reel with Steve Blum – TV Promos – Recording Advice
https://www.youtube.com/watch?v=2raab9czhIg
Chuck & Stacey are in the recording studio producing a tv promo voiceover demo reel for iconic super talented voice actor, Steve Blum. In this episode of “Voice Over Demo Spotlight” we are taking you behind the scenes and showing you how we record a professional voice over demo that rocks!
This 30 minute video is jam packed with loads of recording and producing advice, tips and priceless information.
You know Steve Blum for his work on Video Games And Anime. He’s the voice of Wolverine and he has voiced well over 300 video games.
Tomi Engdahl says:
$13 vs. $1300 Microphone #shorts #microphones #cover #jasonmraz
https://www.youtube.com/shorts/AINNvq_NSxg
Tomi Engdahl says:
FULL BUSKING SETUP – Everything you need to know about the best busking equipment by Allie Sherlock
https://www.youtube.com/watch?v=nLvrd5ffZgY
Tomi Engdahl says:
USITT/TSDCA SOUND DOCUMENTATION
RECOMMENDED PRACTICE
https://www.usitt.org/sites/default/files/2022-04/USITTTSDCA%20Sound%20Documentation%20Recommendations_April_2022_APPROVED.pdf
The information which a sound designer or engineer must communicate to others has grown
in complexity over the years, and today’s sound professionals are often responsible for
communicating information about system components, interconnections, physical positions,
digital routing, network configuration, radio frequency configuration, and more.
This document presents a recommended practice for sound system documentation. It is not
a comprehensive collection of graphic symbols, terms, and necessary paperwork, but is a
flexible framework of document forms and practices for practical communication. The
information which designers and engineers must communicate can be represented in many
forms; this document will identify and describe several of the most common. Neatness,
clarity, and legibility of these documents are top priorities.
1. System Block Diagram (also known as a “one-line”, “schematic”, etc.): a drawing or
drawings of system components, illustrating how they are physically interconnected,
and providing additional information as suitable to the project.
2. Plan and Elevation View drawings: while previously, the sound graphics
recommendations instructed readers to refer to the USITT Scenic Recommendations
for placement of sound objects, this set of Sound Recommendations includes Plan and
Elevation Views, as there are several considerations unique to sound that bear
addressing.
3. Hookups: spreadsheet documents explaining the system connections by piece of
equipment (e.g. one part of a hookup will focus on all connections in and out of the
FOH mixing console).
4. Routing Tables: explains the routing of signals within digital signal processing devices
(e.g. digital mixing consoles, DSPs, etc.).
5. RF Tracking Sheets/Schedules: documenting any wireless microphones, wireless
speakers, wireless in-ear monitors, and other such devices, showing radio frequency
assignments, timing and positions of use, etc.
6. IP Schedules: tracking network addresses and details for any network-connected
devices.
7. Rack Drawings and Custom Panel details: used to explain any custom racks and
panels used in the system.
8. Com System Block Diagrams/Hookups: detailing the communications systems for a
given production.
9. Power: detailing any custom power system configurations
10. Cable Labels: these may not be part of a designer’s paperwork package, but are still
critical paperwork tools for engineering team communications.
11. Schedules: lists of cables and other equipment subdivided by type, useful in assessing
overall system needs.
Tomi Engdahl says:
Behringer DDX3216
http://www.plzi.com/aanta/ddx3216.asp
Tomi Engdahl says:
$100,000 Church Sound Upgrade: Meyer LINA PA and Primacoustic Panels
https://www.youtube.com/watch?v=fGOMynJozQQ
Tomi Engdahl says:
Setting Up My System Tuning Rig From Scratch In The Field
https://www.youtube.com/watch?v=XrCaRpTlv1o
Want to see my personal rig set up from scratch on a real system in real time?
I go from a closed Pelican to ready to tune a system in ~10 minutes, walking you through every step of the way what I’m doing and thinking about.
We cover:
- How I color code my gear to make setup faster and do less troubleshooting
- Why it’s critical to verify your mics before tuning
- My favorite feature on the EVO 8
00:00 – Intro & Equipment
03:05 – Connecting Interface, Mics, and Console
09:17 – Mic Verify in Smaart
13:13 – Recap
Want to see my personal rig set up from scratch on a real system in real time?
I go from a closed Pelican to ready to tune a system in ~10 minutes, walking you through every step of the way what I’m doing and thinking about.
We cover:
- How I color code my gear to make setup faster and do less troubleshooting
- Why it’s critical to verify your mics before tuning
- My favorite feature on the EVO 8
00:00 – Intro & Equipment
03:05 – Connecting Interface, Mics, and Console
09:17 – Mic Verify in Smaart
13:13 – Recap
New To Sound System Design & Tuning? Start Here.
https://www.youtube.com/watch?v=H9yCp3Q5vAs&list=PLqLfCybtxh0HTXmXl4nKZO64yHmQP0lRi
00:00 – Intro
01:37 – Resources Walkthrough
02:13 – My “Start Here” YouTube Playlist
03:09 – Join The Signal to Noise Podcast Discord Channel
04:28 – Read These Two Amazing Books
06:09 – Subscribe to these Blogs and Publications
08:48 – Build A Sound System Tuning Rig For Under $250
09:24 – Learn These Measurement & Prediction Softwares
13:42 – Get On Tracebook
Tomi Engdahl says:
I Paid 3 Mixing Engineers to Mix the Same Song… and I’m Not Impressed
https://www.youtube.com/watch?v=YValhXrUsCw
I’m doing it again! This time around, I hired 3 mixing engineers to mix the same song…and I’m revealing the results of this blind listening test here.
Find out if paying 10x the price gets you 10x the quality when it comes to the final mix.
Tomi Engdahl says:
17 Noob Mixing MISTAKES to Avoid
https://www.youtube.com/watch?v=xQDXqkJuSug
There are a bunch of mistakes that pretty much every new mixer makes. I’ve definitely made all of them at one time or another!
The trick is to first become aware of these mistakes and then STOP them before they become bad habits.
In this video, I’m reviewing 17 of the most common beginner mixing mistakes so you can know better, then do better.
Tomi Engdahl says:
How to understand and use compression: In-depth tutorial
https://www.youtube.com/watch?v=jqN2YoC6yBg
Tomi Engdahl says:
MIXING for 30k people EVERY NIGHT!
https://www.youtube.com/watch?v=LAt7bDbkmJQ
I got to hang out with the crew that makes Styx look and sound good on tour! They are the kindest, most generous individuals who love what they do. In this one Chris “Cookie” Hoff shows me the ropes of FOH. I got a deep dive into what Front of House mixing, PA, plugins, consoles… etc Everything that makes FOH Work. As well as all the guitars, amps, pedals… that these Legends take with them on the road.
EPIC Backstage Gear Tour With STYX
https://www.youtube.com/watch?v=1NOpZhL8ti8
styx, mixing a band live, mixing a classic rock band live, how do you mix for a huge outdoor concert, styx in concert outdoor venue, mixing at an outdoor venue
starting a business how to start a business entrepreneur business music business #music industry, home studio, home recording studio, grow your business, how to grow your business online, how to grow your business, how to save money, money saving tips, start a business, entrepreneurship, recording studio loser, music production, in home studio, music producer, how to, working with clients. how to get work, music theory, nashville number system, learning music theory, play music by ear, play music by feel
Tomi Engdahl says:
8 Techniques for Compressing Vocals in a Mix
https://theproaudiofiles.com/compressing-vocals/
In any style of music that includes vocals as a featured element, an intelligible vocal — appropriately processed to work alongside the other elements of the arrangement — is key to a successful production. Compression, which can do so much more than control the dynamics of a signal, is one of the essential processors found within an audio engineer’s toolbox.
Before I describe how I use compression when mixing vocals, it’s important to emphasize that compression can’t fix mistakes in performance, recording technique or in any other signal processing. If you’re not comfortable with it, I strongly recommend against using compression on a dynamic singer, as improperly applied compression can squeeze the life out of a performance, resulting in a variety of non-musical artifacts that can’t easily be remedied at the mix stage. If anything, compression can potentially bring out poor acoustics, errors in vocal performance and poor application of equalization, saturation, reverb, etc.
Assuming all these are done well, however, compression can bring a production to the next level, and most of the vocals found within the music you hear in popular media have been processed with a liberal amount of compression.
Tomi Engdahl says:
Watch What Happens When We CRASH TEST JBL EON 712 Speaker!
https://m.youtube.com/watch?v=ttNq1XzzDHU&feature=youtu.be
Tomi Engdahl says:
Whats the difference between a DJ PA system and a large scale PA system?
https://www.youtube.com/watch?v=neLNPix9uDE
Curious about how large PA systems work? This video explains the considerations and setup of a large PA system in dealing with power, protection and also thermal issues.
Tomi Engdahl says:
Do We Want & Need Audio Compressors?
https://www.youtube.com/watch?v=vjMbWOWrMOs
Why do we need audio compressors? Is not using a compressor more or less natural sounding?
Dave Rat’s video “Why Do We Want & Need Audio Compressors?” explains the concept and importance of compression in live sound and recording. Compression is needed to control the varying levels and limit the dynamic range to prevent distortion and ensure the sound is balanced and clear. The distance between the microphone and the sound source can cause volume differentials and bleeding from channel to channel, leading to unnatural sound. Compression can mitigate these issues and bring consistency to different instruments’ sound levels. Analog and digital consoles also have different sound qualities that can be softened by using tube compressors or other methods. Ultimately, compression is an essential tool to achieve a consistent and balanced sound in live sound and recording.
00:00:00 In this section, Dave Rat discusses how microphones and the way we mic things can alter the Dynamics of the way things sound, adding noise and distortion that we normally wouldn’t hear with our ears. This altered Dynamics is why compression is an important tool for recording and live sound. When an instrument is captured with a microphone, compression is needed to control the varying levels and limit the dynamic range to prevent distortion and ensure the sound is balanced and clear. However, there is a debate between using too much compression to get more level on recordings versus using compression in the live environment for reinforcement.
00:05:00 In this section, the speaker discusses the issue of volume differentials in audio recordings caused by the distance between the microphone and the sound source. The volume increase when a sound source moves closer to the microphone is magnified when the sound is amplified and played through a sound system, leading to unnatural sound. Mic distance can also affect the ratio of the instrument to the room, causing an undesired re-amplification of the room sound. Compression is a solution to mitigate the excessive volume differentials and low-end proximity effect caused by micing close to the sound source, and EQ can be used to adjust the excessive low end.
00:10:00 In this section, the speaker explains the benefits of using audio compressors to achieve a consistent sound by reducing volume differentials. While compressors can bring up the background noise in quiet parts, they can also reduce the transients of loud instruments and make them sound more realistic. The amount of compression needed depends on the system’s dynamics or the design of the enclosure. The speaker also discusses how compression can help deal with inconsistencies in playing, such as bass players who have varying volumes in different notes.
00:15:00 In this section, the speaker discusses the difference between analog and digital consoles in terms of their sound quality. He explains how digital consoles are known for sounding clinical because they are good at maintaining all of the dynamics and transferring them in numbers that stay intact throughout. On the other hand, analog consoles tend to bleed from channel to channel, which softens the sound and gives you multiple versions of the same signal. This is why there is a desire for tube compressors or other methods to make digital console outputs sound more natural. The speaker then plays a slowed-down audio clip to demonstrate the alteration of dynamics and how sounds are captured, even with just a small change in proximity.
00:20:00 In this section of the video, the speaker explains that the proximity of a microphone to a sound source can have a significant impact on the balance between reverberation and direct signal, as well as distort the audio in unnatural ways. Compression is one way to deal with these issues, and the speaker demonstrates a test using a “sharp transient” tool to illustrate the effects of different microphone positions on the sound.
Tomi Engdahl says:
Audio RF Interference & Demo with Sammy
https://www.youtube.com/watch?v=8o234fcRT7Q
Sammy and I chat and do demos about hum and RF interference
Sammy asks her dad to explain interference and how sound from the outside world gets into a cable. Dad explains that cables can sometimes act like antennas, and shielding is put in place to protect them from outside interference. He mentions that aluminum foil hats might be increasing radio wave exposure rather than preventing it if not grounded correctly. They then put together a test rig to demonstrate how RF interference gets into cables.
Dave Rat demonstrates the impact of grounding on immunity to spurious sounds. When he touches everything to the ground, there’s no sound because everything is grounded out. But as he lets them live, they become susceptible to interference. For instance, when he grabs the cable wire, there’s no sound. However, he hears a buzzing sound when he separates the extended out clip leads.
He explains that the microphone output is equal and opposite to cancel the buzz on the signal line.
Tomi Engdahl says:
Audio RF Interference & Demo with Sammy
https://www.youtube.com/watch?v=8o234fcRT7Q
Sammy asks her dad to explain interference and how sound from the outside world gets into a cable. Dad explains that cables can sometimes act like antennas, and shielding is put in place to protect them from outside interference. He mentions that aluminum foil hats might be increasing radio wave exposure rather than preventing it if not grounded correctly. They then put together a test rig to demonstrate how RF interference gets into cables.
Dave Rat demonstrates the impact of grounding on immunity to spurious sounds. When he touches everything to the ground, there’s no sound because everything is grounded out. But as he lets them live, they become susceptible to interference. For instance, when he grabs the cable wire, there’s no sound. However, he hears a buzzing sound when he separates the extended out clip leads.
He explains that the microphone output is equal and opposite to cancel the buzz on the signal line.
Dave discusses how cell phones can create RF interference and affect audio gear, such as mixing consoles and headphones. He explains that even when on silent mode, cell phones can still produce noise that can be picked up. Additionally, he shares a story about a concert he did in Germany where the entire city’s radio station transmissions were coming out of one giant tower, causing interference problems that had to be solved by grounding the stage. He recounts his experience of dealing with audio RF interference during a stage performance. The aluminum stage was acting as a giant antenna. To resolve the issue, he had the crew dump salt on the grass around the stage posts to create a good ground using the wet ground and the aluminum downposts. The process eliminated the RF interference temporarily, but the problem came back after a few songs. They repeated the procedure using more salt and water, and it worked again.
For more info on solving RF stage interference with salt, check out
https://www.ratsound.com/cblog/archiv…
00:00 Intro
00:54 Accidental antennas
02:25 Tin foil hats
04:12 Interference and hum demo
06:10 Balanced line hum demo
07:42 Sound of Sam
09:38 Cell phone RF interference
11:07 Samufacturing on Instagram
11:38 More cell RF interference
13:05 Solving large scale RF issues
17:28 Outro
Tomi Engdahl says:
Input Line-Check with the Sound Bullet
https://www.youtube.com/watch?v=Rjj4cGWXnVI
The Sound Bullet is the original rechargeable pocket-size I-O audio tester. A powerful preventative and troubleshooting multi-tool that is robust, reliable and portable.
The 5 core functions include:
Generator
Internal Speaker
Phantom Power Check
XLR Input Metering
XLR Cable Tester
The Sound Bullet should be used as a preventative tool for quick diagnosis and troubleshooting problems with complex audio setups.
Helping you maintain and secure an exceptional audio foundation for your next gig.
Tomi Engdahl says:
The Best Cassette Tape Loop Tutorial!
https://www.youtube.com/watch?v=pf24bBhqW4k
Learn how to splice your own tape loop using an old cassette
How To Make a Tape Loop // A Tutorial on Cassette Loop Building and the Tools You’ll Need
https://www.youtube.com/watch?v=Ewf3QSbDFD4
In this tape loop tutorial video I show you how to make a basic cassette loop, and what tools you’ll need. It’s a great introduction for beginners, or a way for tape looping experts to see my take on it.
Tomi Engdahl says:
How to make a (really) lofi DIY tape delay.
https://www.youtube.com/watch?v=bW_jCPyLqIc
DIY Cassette Tape Delay Pedal
https://www.youtube.com/watch?v=iM7fqSupFdE
Tomi Engdahl says:
How does a non-profit recording studio work?
https://www.youtube.com/watch?v=LaW1n9NaMoI
Tomi Engdahl says:
How Real Do the Drums Sound?
https://www.youtube.com/watch?v=tn69y1f74yc
In this YouTube video, Dave Rat talks about a method of achieving realism in reproduced sound rather than just fidelity. He discusses the flaws inherent in conventional sound systems and recommends placing the sound source directly in the listener’s acoustic environment for a more realistic experience. He then goes on to demonstrate the difference between different speakers and encourages users to acquire the tools that will achieve their desired outcome. Ultimately, he describes a method to create a sound that is realistic and not just a reproduction.
Tomi Engdahl says:
I Taught My WIFE to MIX A SONG. And She’s GOOD?!?
https://www.youtube.com/watch?v=Z2guAJHp8fk
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I Taught My WIFE to MIX A SONG. And She’s GOOD?!?
Recording Studio Loser
29.3K subscribers
3,418 views May 3, 2023 #music #mixing #recordingstudio
All The Gear I Use: https://imp.i114863.net/dogPy2
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I brought my wife Cat into the recording studio and taught her how to mix in Pro tools.
Turns out her instincts when it comes to mixing a record were pretty good. It goes to show that if you like music but don’t have a strong background in the software side of things with Pro tools, Cubase, Logic Pro x, or Studio One. Your musical instincts will take you further while mixing a song than you think.
Tomi Engdahl says:
Mastering for Platinum & Grammy Mixing Engineers Taught me 3 THINGS you MUST KNOW!
https://www.youtube.com/watch?v=UX1U02WhBMQ
00:00 – Intro
00:25 – Bob Horn
03:05 – Irko
05:16 – Travis Ference
Tomi Engdahl says:
How Ellie Goulding Uses Her Voice as an Instrument | Critical Breakthroughs | Pitchfork
https://www.youtube.com/watch?v=Uui1Kjg0pmY
Tomi Engdahl says:
FINNEAS Explains How He Builds Songs For Billie Eilish | Critical Breakthroughs | Pitchfork
https://www.youtube.com/watch?v=FsSkRjgjFvU
Grammy Award-winning musician and producer FINNEAS sits down with Pitchfork and closely examines his creative process while working on some of the biggest hit songs of the past couple years.
Tomi Engdahl says:
Mark Ronson – Song Breakdown – Back to Black – Music Production – BBC Maestro
https://www.youtube.com/watch?v=ixPLIfJv2jw
Mark Ronson – Using Different Microphones – Music Production – BBC Maestro
https://www.youtube.com/watch?v=Uue5d99x2dg
Tomi Engdahl says:
Music Industry Veteran Young Guru on DIY Mic Setups – Class Excerpt
https://www.youtube.com/watch?v=SXq1ua79JIs
If you’re interested in audio production and setting up a home studio, it’s important to understand mic set ups — and how to create your own. In this clip from his Skillshare Originals class, music industry veteran Young Guru shares mic setup tips that will help you produce like a pro.
Tomi Engdahl says:
Young Guru’s Essentials of Audio Mixing: How to Use Compression
https://www.youtube.com/watch?v=S0G-y9TUVhw
Tomi Engdahl says:
Andrew Scheps Reveals His Mix Process
https://www.youtube.com/watch?v=HxFdgAWdb2Y
Andrew Scheps on his intuitive mix process, his skepticism about ‘gain staging’ and why mix engineers shouldn’t make arbitrary mix moves as a habit.
Tomi Engdahl says:
Behind The Scenes: Presidential Campaign Announcement | Outdoor Show Streamed Live On National News
https://www.youtube.com/watch?v=sZk7TzlU6mQ
Want to see what it takes to run audio for a high-pressure political event?
Today I take you behind the scenes for Asa Hutchinson’s Presidential Candidacy Announcement.
We’ll walk through:
- How I strategically laid out my PA to cover well but be as invisible as possible
- How I distribute audio for the press
- What makes political gigs different from any other show
—
00:00 – Intro
00:30 – FOH Setup
01:28 – Press Riser & PA Overview
02:59 – Backstage Closeup and Line Array Detail
07:14 – Outro
Tomi Engdahl says:
Avoid Audio Mishaps: Understanding Behringer X32 and Midas M32 AES50 Cable Specs
https://www.youtube.com/watch?v=nrakOz_mDKA
If you work with the Behringer X32 or Midas M32 platform of digital mixers and audio equipment, you’ve likely encountered AES50 connections and cables. They are used for digital audio transmission between consoles and between consoles and external preamps. These connections use Ethernet cables. However, not all Ethernet cables are created equal, and it’s essential to follow the cable specs provided by Behringer and Midas for the X32/M32 platform to ensure proper signal transmission and avoid audio issues.
In this video, I dive into the details of AES50 cable specs and explore why they matter for your audio setup. We’ll cover topics like cable length limits, shielding requirements, and more. Additionally, we’ll discuss common mistakes people make when using AES50 cables and offer tips for troubleshooting common issues.
By the end of this video, you’ll have a solid understanding of Behringer and Midas AES50 cable specs and the crucial role they play in maintaining high-quality signals to avoid intermittent and random problems. Things like disconnects, pops and bangs in the sound system, and even AES50 port destroying static electricity. Whether you’re a professional sound engineer or a beginner just getting started with digital audio, this is information that you want to have ingrained in your knowledge base.
https://en.wikipedia.org/wiki/AES50
Tomi Engdahl says:
How To Over / Under Wrap Cables for A/V and Live Production
https://www.youtube.com/watch?v=gvufphfKl3Q
A veteran stagehand demonstrates and teaches the Over / Under cable wrap method. This cable wrapping method is frequently used (if not required) in many Audio-Video and Production houses, theatrical and music venues, and in live touring. Definitely, Stagehand 101 and Tech material to know.
Proper care of audio, lighting, and video cables is part of a cable management plan that not only helps to keep your stage cleaner (because properly wrapped cables will lay flat), but also helps with the longevity of your cables. And makes for efficient packing and unpacking at setup and strike (teardown).
Cables are the lifeblood of a sound system, lighting system, or video system (iMag or broadcast). While, many things are wireless, there are still 1000′s of feet of cable in use even in smaller venues to make a show run. And even those pieces of RF eventually are connected via cables somewhere in the system.
Over-Under Cable Wrapping
https://www.youtube.com/watch?v=NYb2n6_UPEQ
Basic “twist” method of coiling cables in the over/under method. There are a couple different ways to do this, this video shows one way. Regardless, make sure the loops are the proper (and consistent) diameter.
Tomi Engdahl says:
Digitalmixer 2023
THE BEST DIGITAL MIXERS – 2023
THE BEST DIGITAL MIXERS – 2023
https://www.thomann.de/blog/en/the-best-digital-mixers-in-2023/?utm_source=facebook.com&utm_medium=cpc&utm_campaign=feed&utm_content=blog_Best_digital_mixers_of_2023&fbclid=IwAR3Ev1v6otdZsUSlngu1eeO1mBSbDhlSzH9P-zlVki6EjAm1HvKH5gMNC4I_aem_th_ATGaGO_-5DtVgHyyvzaZSQLcQRr2d7QlNYn5pm1BqzWzCjkjHCWB0li3iffohiUGu4idp_Q0ImdupFDP1EZCpNYX
Tomi Engdahl says:
Mixing FOH for a band at a festival (POV)
https://www.youtube.com/watch?v=9ErbSSUNomo
Mixing FOH for THE ROSE at Lollapalooza festival BRAZIL 2023
POV video of mixing live FOH for The Rose at Lollapalooza Festival Brazil 2023. Explaining each of the mix moves I’m making as I go through the song. I thought id share this one as a few things go wrong during the song/mix so it was pretty interesting to share and show how I dealt with those.
Mixing on an Allen & Heath D-live system. The console is a Cti-1500 and the stage box was a CDM32 which I was travelling with the whole tour and flying between each show.
Tomi Engdahl says:
How To Make a Song in Cakewalk – Gear, Recording, & Mixing for Beginners [Updated 2022]
https://www.youtube.com/watch?v=uk4i4ayKnoU
The latest installment of one of my most popular series: How To Make a Song. This episode utilizes the free software Cakewalk, and covers gear, recording vocals, free plugins, and mixing for beginners.
Tomi Engdahl says:
The Grand Final Was A BEAUTIFUL Mess | Eurovision 2023 Crack
https://www.youtube.com/watch?v=IbMwGe01xMc
Tomi Engdahl says:
How I Programmed The Bass On Michael Jackson’s PYT
https://www.youtube.com/watch?v=EVx9CnUqXGM
In this video I go over step by step the PYT bass sound I programmed for Michael Jackson and Quincy Jones, on my Arp 2600.
In this series Anthony breaks down some of the most icons synthesizer patches that he programmed for Michael Jackson’s Thriller
Anthony’s musical touch as both composer and performer is connected with some of the most influential creative minds over the last 40 years. He’s composed and conducted original orchestral scores for over 80 feature films including Young Guns, Internal Affairs, The Man From Elysian Fields, 15 Minutes and Planes, Trains & Automobiles, been commissioned by the Los Angeles Philharmonic for his symphonic work “In the Family Way”, written over one thousand TV commercials in a myriad of musical styles, co-founded Levels Audio Post (LA’s premiere post production facility) and performed and arranged on big-box-office films and influential hit records such as Michael Jackson’s Thriller.
His extensive work as a young arranger, orchestrator and performer for Quincy Jones, Jack Nitzsche, Lamont Dozier, Arthur Rubenstein and Giorgio Moroder was vital in launching his own career. His early years pioneering modular analog synthesizers along with his wide-ranging music scholarship positioned Anthony at the center of the music technology revolution. He attended the University of Southern California School of Music as a piano and composition major.
Tomi Engdahl says:
Monitor Engineer Line Check (read description)
https://www.youtube.com/watch?v=IJ07uAkYuXU
Here’s a quick little line check (53 inputs) from last night in monitor world.. Since this is (was) a co headlining tour our “on stage” inputs get re-patched during change over (just the sub snake lines). Having said that, we don’t really have a set order for this just who ever is ready first. We can do it quicker than this but 4 minutes is the norm if all is going as it should. Sometimes you can’t hear me talking because at that moment I’m shouting to FOH which doesn’t go through my console and therefore doesn’t get recorded… I have since changed how all that works on my desk but this was early in the tour and I was using the previous engineers show file and the setup/configuration that he advanced.
Usually the line check is just FOH saying “House” and me saying “monitors” then the backline tech moves onto the next input. But again because of how the talkback was routed when this was recorded it’s a little different. I wasn’t very happy with the communication so I changed it after this video.
For those of you who are new to this or just interested in general I’m sure you’ll appreciate the content as I would have appreciated it myself 10 years ago when I was starting out. Some things not seen are my wireless scan I do as soon as the band before us is off stage (to verify that my mid day soundcheck wireless frequencies are still good). Other than that I send noise to my wedges and fills to verify they work and are full range and that’s basically it. It only takes a couple of minutes once all the on stage chaos is nearing a close.
Tomi Engdahl says:
A Fly’s-Eye View of a Rock Band’s Soundcheck
https://www.youtube.com/watch?v=k2wgnPQI_is
This is a look at a band’s soundcheck from a fly’s-eye view. A look over my shoulder as I go thru the channels and get the Midas M32 digital mixer ready for the show. This is journey through the sound system prep and band’s setup process before a big show.
From the vantage point of a curious fly, you’ll get an up-close look at the intricate details of the band’s equipment and the audio and lighting production as everyone gets ready for the show to take the stage. A behind the scenes look at the workflow as sound levels are adjusted, microphones tested, and equipment placed to make sure everything is perfect and ready for their performance.
FOH mix is done on a Midas M32 and there is a Behringer X32 in Monitor world for stage monitor mixes. 3 biamped mixes downstage, a biamped cue wedge in monitor world, and a tri-amped drum monitor just off the drum riser SL of the drummer. There is some added behind the scenes footage from the stage showing pre-show elements of the backline and sound system.