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[BradPinder]

Hi All,

We are just about to test the waters with live streaming/broadcasting of services. Are there any suggestions for improving the mix that we send? At the moment we are using a matrix send of the main FOH mix, with some crowd mics blended in along with a boost to our MC/Preacher mics. To that i was thinking of adding some drums overheads, but are there any tricks in the realm of compression (simple or multi band) or overall bus EQ that might improve the listening experience? I know that the ideal situation would be to make a split of all inputs and do a dedicated broadcast mix; however as we are only just starting out we really want a basic "set and forget" option so we don't lose focus on the main FOH mix. We are a contemporary style church running a fairly standard "rock" band (fully mic'ed drum kit, 2 elec guitars + acoustic, bass, keys, backing tracks, and 4-6 singers).

Thanks in advance.

[Mike Caldwell]

If you thinking of building a separate broadcast mix from a mix bus that is prefade that will not be a set and forget option.

A broadcast mix built from a post fade mix bus can have select channels boosted to compensate for the FOH mix and they will still track changes made to the main mix.
If your building the broadcast mix from a mix buss remember to add the FX returns to the broadcast mix.

What board are you using?
Most give you the option on the mix buss to select pre or post channel EQ for the mix send. The way the channel strip was Eq'd for the live mix may or may not work well for the streaming broadcast mix.
Keep in mind most people will not be listening to the streaming mix on a PA system.

[BradPinder]

Thanks Mike.

We are using an A&H dlive. The matrix I am currently sending is fed with main foh (definitely post fade). The crowd mics are pre fade, with extra mc added post fade. I don’t want to go down the route of a prefade mix for the reasons you stated.

The room eq is handled offboard by the dsp eq, so mix eq is fairly flat (a dip around 200hz as we get a lot of buildup there). I can definitely ‘invert’ the foh eq, but not sure how much this will help.

Thanks

[Keith Broughton]

I have done many gigs where there is a "broadcast" or web or record feed and I set up a post fader AUX send.
The individual channel levels in that send can be adjusted to favor the broadcast requirements and a limiter or compressor, along with EQ,  can be used, separate from the main mix.
I don't run crowd mics  in the main mix, and only rout them to the broadcast send and tend to ride them to capture audience response but keep them down when not required to keep the mix from sounding too "ambient".
While this will not give you the results of a separate broadcast mixer position, I have found it a quite effective compromise.

[Caleb Dueck]

Thanks Mike.

We are using an A&H dlive. The matrix I am currently sending is fed with main foh (definitely post fade). The crowd mics are pre fade, with extra mc added post fade. I don’t want to go down the route of a prefade mix for the reasons you stated.

The room eq is handled offboard by the dsp eq, so mix eq is fairly flat (a dip around 200hz as we get a lot of buildup there). I can definitely ‘invert’ the foh eq, but not sure how much this will help.

Thanks

The leap to a real broadcast mix doesn't have to be expensive.  Dante card, Pri/Sec Dante runs to another room, to pretty much any console with Dante card and enough inputs.  You could even try sending the drums as a stem mix to keep channel count down.  SQ5 mixer even, pair of decent studio monitors.  Much better mix quality than trying to pull off the main console.  Add some room acoustic treatment and small subwoofer, tweak with SmaartLive, and you can get some very good results. 

[Mike Caldwell]

A compromise between the post fade mix following the main mix and a full on second broadcast mixer set would be giving someone an iPad to mix the broadcast mix using a pre fade mix.
They would not have full channel processing adjustments available to them but they could do a live broadcast mix.

Set them up in a nearby room with a couple monitors and some form of visual contact to the stage.
With some really good isolation headphones you could do the mix at the sound booth.

[BradPinder]

Thanks for the advice. a few good ideas to keep testing with

thanks again

[Andrew Hollis]

The pro sports/theatre style is to use audio sub groups (post fader):

drums, bass, guitar, keys, tracks vox, fx

Send those sub groups to the matrix, + audience.

Balance the subgroups however you like for the broadcast matrix out.

This is better than pre fade aux because: 1) You don't need per-channel granularity: do you really need to rebalance kick in/out for bcast ? and 2) if you use the subgroups for your main FOH mix, then you've already balanced the bcast, and can fine tune from there.

[ProSoundWeb Community]