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Author Topic: Will do some live streaming concerts on a Pro2C. Need some general advice  (Read 4322 times)

Miguel Dahl

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I'll finally be able to put my fingers on some faders again during this lockdown.

I've never done audio purely for broadcast or even in a studio before, and I haven't touched a Midas Pro in lots of years.

First about the setup, I don't know much (about nothing), I just got a call yesterday:

Band on stage, lampie in the house, me in a breakout room "somewhere". I really hope I'm getting a video monitor, heh. Only wedges/IEM will be used. No house PA.

I'll need to be able to communicate with the band somehow. Is it possible to get a single talkback mic (on the stage) to always stay routed (from what I remember this is possible) and at the same time stay ON in monitor B which feeds a single speaker?
Or, should I use a direct out from that microphone on stage and get it into the same TB-speaker in my room?

I'll be using monitor A for my studio monitors. Comms with lampie can be on radio.

I bet the lampie would want to hear something nicer than just the stage wash. So my plan is to use two delayed Matrices which are fed off my L/R bus to two active boxes at his position.  Would it for some reason I'm not aware of atm be beneficial to also run the broadcast mix off matrices?

How is the pro2 with internal latency when it comes to parallel bussing?

If anyone has any tips or pointers at all about the difference about doing audio for a live audience vs broadcast, those are highly appreciated.
« Last Edit: April 06, 2020, 12:10:00 PM by Miguel Dahl »
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Mac Kerr

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Band on stage, lampie in the house, me in a breakout room "somewhere". I really hope I'm getting a video monitor, heh. Only wedges/IEM will be used. No house PA.

I'll need to be able to communicate with the band somehow. Is it possible to get a single talkback mic (on the stage) to always stay routed (from what I remember this is possible) and at the same time stay ON in monitor B which feeds a single speaker?
Or, should I use a direct out from that microphone on stage and get it into the same TB-speaker in my room?

SNIP

If anyone has any tips or pointers at all about the difference about doing audio for a live audience vs broadcast, those are highly appreciated.

You will be listening to all the vocal mics so they can tal back to you that way. You just need a switched feed into the monitor console (or mixes from FOH console) to talk to their IEMs or a wedge.

Have a pair of nice monitors set up with the video monitor between them in front of you and mix away. You do not want to hear the room.

Mac
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Miguel Dahl

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You will be listening to all the vocal mics so they can tal back to you that way. You just need a switched feed into the monitor console (or mixes from FOH console) to talk to their IEMs or a wedge.

Have a pair of nice monitors set up with the video monitor between them in front of you and mix away. You do not want to hear the room.

Mac

There will be no monitor console, i'm doing mons from my console. I was thinking that I might miss something from the band when i either solo a monmix (where the vocal is not in) or an instrument. I was thinking about a mic with a switch on it. An optogate would be the best, since everybody not at FOH forgets to turn off the mic again...
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Erik Jerde

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I haven't done it on a midas desk but I've used band talk mics on a digico pretty sucessfully.  These were for musicians that didn't have vocal mics but you could do the same with vox mics too.  Just bring them in on channels and bus them together.  Either route the bus to a solo bus or route the bus right out an analog output into a little powered speaker.  You'll have to figure out how you do level control for that speaker either on console or with an external knob (JBL nano-patch can work nicely).  Routing through a solo bus usually gives you good level control right on the desk.
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Miguel Dahl

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I haven't done it on a midas desk but I've used band talk mics on a digico pretty sucessfully.  These were for musicians that didn't have vocal mics but you could do the same with vox mics too.  Just bring them in on channels and bus them together.  Either route the bus to a solo bus or route the bus right out an analog output into a little powered speaker.  You'll have to figure out how you do level control for that speaker either on console or with an external knob (JBL nano-patch can work nicely).  Routing through a solo bus usually gives you good level control right on the desk.

Right, not a bad idea. The band mic would be for soundcheck though, as that's when I'll be soloing stuff. During show I can tell them do just "do it normally", point or just say something.
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Helge A Bentsen

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Use the talk buttons directly to the monitor bus(s)es to talk to the band. You'll probably get enough leakage from the vocal mics to hear the band.

Press to talk, press again to release or use a mic with a switch. Really fast & simple on Midas Pro.
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Tim McCulloch

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Monitors might be interesting depending on which Pro series desk you end up with.  Not all are able to do Pre-EQ to mix buses.  It might be better if you can assign each physical input to 2 separate channels, one set for main mix, the other for IEM/foldback.
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Miguel Dahl

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Monitors might be interesting depending on which Pro series desk you end up with.  Not all are able to do Pre-EQ to mix buses.  It might be better if you can assign each physical input to 2 separate channels, one set for main mix, the other for IEM/foldback.

There we go, that's one thing.. But it would be the same as a regular club-gig with everything served from FOH. I always soft-split the vocals at least. And if it's a hard rock/metal band also split the (B91) kick.  I'll be using Pro2C. Like I said I haven't been on this console for ages, so I'm guessing there's one generation of firmware I've never used, maybe. I was on and off on it until G2 came out and some while after that.  I left it at the time the visual EQ curves started to look what was actually going on audibly.

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Joe Pieternella

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I am in no way a broadcast engineer, maybe one or more will chime in.

Biggest difference will be the lack of interaction in multiple senses
Most bands play better when they are enjoying theirselves, having no audience to connect with can easily make it feel like a stage rehearsal/soundcheck for them.
Part of the "live" experience for bands playing smaller rooms is the PA backwash adding "feel".
This might lead to higher monitor levels than normal. Especially since they probably seem to sound "thin" without the PA adding LF.

You'll need to keep the Crest factor of the mix smaller than usual while still retaining punch in the mix.
And depending on what you're mixing, rethink spectral balance. That pounding kick that makes live sound live is mostly eating headroom while only 5% might be able to reproduce it.

Studios have a pair of crappy speakers they use to get an idea of what a mix sounds like on bad equipment. Consider adding those to your setup but only occasionally switch to them after you feel happy on your main monitors and only to check instrument balance.
Have someone with knowledge of sound listen to the stream.

Think about master buss processing too
A small reverb to give the band a space
A compressor for the Crest factor

Joe
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Miguel Dahl

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I am in no way a broadcast engineer, maybe one or more will chime in.

Biggest difference will be the lack of interaction in multiple senses
Most bands play better when they are enjoying theirselves, having no audience to connect with can easily make it feel like a stage rehearsal/soundcheck for them.
Part of the "live" experience for bands playing smaller rooms is the PA backwash adding "feel".
This might lead to higher monitor levels than normal. Especially since they probably seem to sound "thin" without the PA adding LF.

You'll need to keep the Crest factor of the mix smaller than usual while still retaining punch in the mix.
And depending on what you're mixing, rethink spectral balance. That pounding kick that makes live sound live is mostly eating headroom while only 5% might be able to reproduce it.

Studios have a pair of crappy speakers they use to get an idea of what a mix sounds like on bad equipment. Consider adding those to your setup but only occasionally switch to them after you feel happy on your main monitors and only to check instrument balance.
Have someone with knowledge of sound listen to the stream.

Think about master buss processing too
A small reverb to give the band a space
A compressor for the Crest factor

Joe

Thanks. Yes I'll do some comping on the master buss too. What's the norm for this?

I need to talk to the people responsible to the streaming to get some pointers and if they do anything to the audio which comes from me, they usually produce content for national TV. My reference for this audio-wise will be "TV-productions". I think I'll keep my laptop by my side with the stream open, so I can listen on built-in speakers and headphones for reference.

The artists will just have to take it for what it is, a streaming session, just like when they play live on radio or something in a studio, but without cans.

But the most "new" to this will be everything about the sanitary aspect and how to act with contamination in mind. For instance, one thing I've never had to think about before ever is that guest engineer will also be touching the console.. Now suddenly this is a thing to think about..  New rules to how to approach these kind of things which all my working life has been trivial.
« Last Edit: April 07, 2020, 09:46:45 AM by Miguel Dahl »
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