Livestream help please!!!!

[Joel100Participant]

Our church uses the qu32 for livestream to the zoom we use mix 7-8 for the livestream I was wondering is there any way to make the mix independent of the main mix because everytime we are doing a set the band is always overpowering the singers. Also how do u setup and assign things to a matrix mix?

[ScottParticipant]

Set all inputs to PRE and the mix will be completely independent of the main mix.

Set all inputs to POST and the mix will “track” the main mix, but can still be different. Doing it this way will still allow you to turn down the singers in the livestream, while still tracking changes made by FOH in the stream. This is the more desirable method in my opinion, and requires less jumping back and forth by the operator.

[Mike CParticipant]

+1 to Scott’s post.

How does the mix sound in the room?

Using the POST fade mix start off by having all of the mix 7-8 channel send levels set the same on every channel, that way the live stream will be tracking more or less exactly the main mix that sent to the PA system.

Using a PRE fade mix just about requires another person mixing that mix with an iPad while monitoring with good isolation headphones or being located in another room.

To set a matrix mix select the matrix, then while in the routing menu hit the button
to the lower left of of the screen for the matrix view and select the matrix sources by tapping that source on the screen.

[Joel100Participant]

Hey thanks for responding the inputs are all pre on mix 7-8 but its still get affected by the main mix

[Joel100Participant]

In the room the mix sounds fine thank you I’ll try that out for the matrix mix

[Mike CParticipant]

If mix 7-8 is set to PRE FADE and you are using the mix 7-8 outputs on the back of the mixer changing levels while in the main L R mix mode would not change the send levels on mix 7 – 8.

There are other PRE options on the mixes, pre EQ pre processing in addition to the PRE or POST fade options.

[Joel100Participant]

Okay I will try that out, because the way our mix 7-8 is setup the faders our independent of the main mix, but the eq is not independent. So what you are saying is that the eq also has to be set on pre fader right?

[Mike CParticipant]

If you do not want changes to the channel strip eq to be sent to the mix out there is setting on the mix routing menu for PRE or POST EQ that is independent of the PRE POST fader setting.

[SteffenRParticipant]

The best solution for doing a complete and independent stream mix is to split the signals to an extra mixer and use that for the stream.
I know, sometimes the budget isn’t there, but that would be the best solution.

[BrianParticipant]

First, you should be setting up the broadcast mix as an “aux”, not a “matrix”. This way you will have the ability to control the send level of each input to the broadcast mix. A matrix is generally considered a mix of a mix, not a mix of inputs. If you send your L/R feed out to your broadcast as a matrix, you won’t be able to set the volume of each input independently of the FOH mix.

Obviously the best solution is to have someone mix the broadcast stream, but depending on your pool of engineers, a lot of churches simply don’t have the ability to have two engineers each week – one for FOH and one for broadcast. Do you have a dedicated audio person to mix the broadcast stream (independent of the FOH mix)?

If you do, then you want to set the inputs to send their signal to the broadcast stream (aux 7-8) to be “pre-fader”. This way the broadcast engineer can “mix” the broadacst aux send levels without being affected by any changes the FOH engineer might be making to the mix balance during the service.

However, if you do not have a dedicated broadcast mixer, then you want to set the inputs to send their signal to the broadcast stream (aux 7-8) “post-fader”. This way any changes made by the FOH engineer WILL also be made to the broadcast mix. To make this work however, sometime during rehearsal once the FOH mix is “dialed in”, the FOH engineer needs to switch over to the broadcast mix and listen with headphones and dial in the overall mix for the broadcast. If the band is overpowering the vocals on the broadcast aux, then increase the send vocal levels and/or lower the band send levels in the broadcast mix until it is balance. Once the overall mix is set, any changes made at FOH will also be made to the broadcast mix. For example, if the FOH engineer pushed up the guitar 2db during a solo, it will also be pushed up in the broadcast mix. Or if there is a quiet part where only piano is playing with singers and the FOH engineer turns down the vocals to match the lower volume of the band, that adjustment is also made for the broadcast mix because everything is set to “post fader” sends.

Now without a person monitoring the broadcast audio, you shouldn’t expect to be 100% happy with the broadcast mix every second of every service. But setting the system up like this – inputs sending to broadcast mix prefader with the FOH engineer dialing in the overall broadcast mix after dialing in the FOH mix during rehearsal – you can get a really decent broadcast mix without requiring that someone actively mix the broadcast.

[BrianParticipant]

I am re-reading my previous post and realized I made a pretty big error. In my last paragraph I used “prefader” when I should have used “post fader”. The last paragraph should really say….

Now without a person monitoring the broadcast audio, you shouldn’t expect to be 100% happy with the broadcast mix every second of every service. But setting the system up like this – inputs sending to broadcast mix post-fader with the FOH engineer dialing in the overall broadcast mix after dialing in the FOH mix during rehearsal – you can get a really decent broadcast mix without requiring that someone actively mix the broadcast.

[DaPoParticipant]

I was going to reply here for two reasons
You’ve covered one of them now! You were summarising para 4, and para 4 made sense, so I figured you meant “post fade”.

Some advisors suggest that a matrix works ok by and large as a compromise. But your point about the loss of individual channel control is true.

What interests me from your explanation of aux control is that post-fader from the source inputs work by relative displacement, not in an absolute way. In other words, if I’ve set all channels in my aux mix to unity, but there’s a spiky profile on L-R, I will get a different result from if I’d started with them all at near the bottom. Is that so? There will be no initial “copy” of fader levels; rather, the levels will alter by some metric increment as you play with the faders at L-R. Now, let’s say in pre-check, you’ve boosted a weak channel on your aux. We “mute” on L-R by sending the fader to minimum. Will that mean that a faint signal will still come through to USB? Notionally, the fader will have dropped by the same amount, but not to nothing.

I’m interested because I have a big acoustic instrument (a pipe organ) that I don’t want through L-R but need at strength in the broadcast mix. I’ve used a matrix in the past for this, assigning the “ambient” channel a special group for the job. To use this via aux bus, I’d simply have an additional contributing input over the ones assigned to L-R.

Tks

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