Matrix or aux to video feed?

[SingtallParticipant]

I’m really loving the sound of the SQ6 and everything it does, but I have a question on routing.

I would like to be able to send stereo out to a live video feed with more control than I currently have. Right now, I’m sending Aux 8 in stereo out local 13-14. It’s sounds ok, but I’m not sure I have it setup correctly. I would like to get the tone and effects from the main feed, but have individual volume controls so that I don’t just hear a clone of the mains and those channel levels.

I would love to be able to tap an output from my submix and dca’s and have a volume control for that mix in addition to the input channels.

how do I do this?

[ad.amParticipant]

You can use aux and just setup inputs in the pre fader mode on that aux

[Mike CParticipant]

If using the PRE FADE mix you will need some to actively mix the live stream mix, maybe in a remote area with an ipad monitoring the live stream audio with a feed from the mixer.

Even with that you would not have the ability to do channel eq adjustments with also changing the house mix.

If you have open channels you could double patch the channels one would be the house mix the other the live stream mix, that that would give you full independent processing for the live stream.
If you short on channels maybe double patch just the most important channels.

[ScottParticipant]

MATRIX:
A matrix can give you more control *if* you already have the rest of your band sub-grouped out. For example, subgroups of drums, guitars, keys, vocals, etc. Then you can mix those subgroups to a matrix (video feed) easily adjusting the balance between those grouped components with only a few faders.

In easy-mode the matrix can simply be a copy of the FOH mix, giving you separate EQ, comp, and volume controls. The above method is nice if you have already grouped your band into sections, or have that option.

AUX:
If using an AUX you want it POST FADER (except if you have a separate mix engineer doing that mix) so that it follows your FOH mix. This allows you to set differences between the two mixes. For example, maybe a guitar is loud in the house, so you don’t turn it up as much in the mix, so in the video feed the guitar is too quiet. You can go to the AUX mix and turn up the guitar to compensate (or turn everything else down). The nice thing is, that this difference is maintained because it tracks the FOH mix. So if you lowered a source by 6db, it will always be -6db below the FOH setting. The same applies to turning things up in the AUX mix. Once you have those “differences” dialed in, that mix will usually be quite good for the remainder of the time.

[Mike CParticipant]

If using the PRE FADE mix you will need someone to actively mix the live stream mix, maybe in a remote area with an ipad monitoring the live stream audio with a feed from the mixer.

Even with that you would not have the ability to do channel eq and processing adjustments without also changing the house mix.

If you have open channels you could double patch the channels, one would be the house mix the other the live stream mix, that that would give you full independent processing for the live stream.
If your short on channels maybe double patch just the most important channels.

Made a few typo corrections from my late night post!!

That all said there are at least half a dozen ways to create a live stream mix all the way from just a straight up copy of the FOH mix to a separate mixer in a dedicated video control room.

If personnel and equipment are limited the matrix/subgroup or post aux options are the best compromise. Once the general balance is set it will not need too much other attention.
Those being the given choices I lean to the post aux option as it gives a little more mix control.
For a post aux mix I’ll start with the sends all at the same level with the spoken word only inputs turned up higher and then adjust the other inputs as needed for the live stream. For the overall live stream processing apply a generous amount of compression.
Adding the FX applied to the FOH just requires bringing up the send for the live stream aux on the FX return channels.

[nottooloudParticipant]

For a post aux mix I’ll start with the sends all at the same level with the spoken word only inputs turned up higher and then adjust the other inputs as needed for the live stream. For the overall live stream processing apply a generous amount of compression.
Adding the FX applied to the FOH just requires bringing up the send for the live stream aux on the FX return channels.

I do this. I also add a couple of omni room mics at the stage lip, which aren’t assigned to LR, so they only go to the stream. Makes the stream feel a lot mire real and present.

[HughParticipant]

Obviously the same parameters exist for all audio recording whether for video recorders or any other recording or streaming activity. The question to be resolved is how much alteration of the house SR mix is required to rectify stage generated amplification. Hot back lines generally require a separate mix and to this end I am a big believer in using tie lines to capture clean “pre only” tracks for a final two mix for any external delivery. Any time individual instrument amps are deployed on stage there will be a potential audio sonic balancing problem to some degree.
I work with acoustic Americana genre performers that do occasionally deploy a stage piano or a bass that I run direct to the console and their cue monitoring comes from SR stage bloom and a wedge. The simple truth is most of my live SR mixes that I send to my Atomos video recorders are generally pretty close to the post produced two mix from my clean pre only multitrack tie lines.
Check out the three selections in the back half of my Web site Video. The three musicians did not need any cueing or monitors, they just enjoyed a great acoustic jam that I captured direct from their performance: Audio capture for video does not get much better than this. <hughshousestudio.com>
Hugh

[Mike CParticipant]

I do this. I also add a couple of omni room mics at the stage lip, which aren’t assigned to LR, so they only go to the stream. Makes the stream feel a lot mire real and present.

Room mics can help the “feel” more so for the music portion, I pull the rooms mic
back some during the service spoken word portion to keep that cleaner on the stream.
That does depend some on the room over all acoustics, if it’s a large reverb chamber
of a room I pull the rooms mics down even more.

[SingtallParticipant]

Last show I used Aux 8 in stereo. I copied my main mix settings first, then made adjustments. in this, the drummer hits extremely hard, and the singer sings soft, so my FOH channel levels weren’t optimal, but running it in the aux gave me the ability to change levels and still have effects running for the both the FOH and live feed. Because my FOH system is fairly flat EQ’d, I really didn’t need any eq changes for my live mix, only individual channel levels.

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