"Stereo Aux" versus "Matrix" for Streaming?

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    Profile photo of Rhodco

    I apologize if this topic has been covered, but my search results did not find anything relevant to my question. I have been working on setting up a new SQ-7 for our church and everything has been going well, but I still am not clear on whether I should use a stereo aux output, or a stereo matrix output, to send L and R audio to the control booth where they send out the audio with the video for our live stream.

    I think I understand that if we had another audio engineer to monitor the stereo aux output, he could use SQMixPad to mix it separately upstairs while I mix for the house down at the console. However, if I’m running sound by myself, I will need to hop back and forth between mixing for the house and mixing for the online stream.

    Could someone please recommend a good solution for this?

    Profile photo of Mike C
    Mike C

    The options you listed are pretty much the choices you have with what you are wanting to do with what you have.

    A couple things to think of though.

    If you are going to have someone remotely mix for video using the mix app at that time you will want the mix/aux feeding the video set for pre-fade. Also remind them that mix level and overall mix out EQ and processing is all that they can/should control.

    Having just said that, if you have open fader channels on your SQ7 you could double patch the inputs to two fader channels on the mixer. One set of channels would be for the main mix the other set would be for the video mix. That would give both mix operators complete independent channel processing (with the exception of input gain/trim) for each of their mixes, main PA and video

    If only one person is available I would set the mix/aux feeding video to post fade, start
    with all the sends set at the same level with the spoken word only inputs bumped up higher, check the mix a few times by PAFL’ing it and giving it a listen with some isolating headphones, maybe you will need to bring up some inputs on the video mix
    that are acoustically louder in the and no as high in the main PA mix.
    After that I would let the video mix then track what you are doing for the main PA mix.
    You can not really effectively follow and mix two things at the same time going in and out of headphones and hitting the needed cues.

    Then again I’m not sure how complex of a mix your working with.

    For the video mix you may want to bring up some of the FX returns in that mix as well……that is if your mixing music and are using FX.

    Profile photo of Scott

    I am using matrix mixes for our streaming. It allows you to maintain only one mix instead of multiple. I use 2 matrix mixes, both of which are fed from the main L-R mix. The main L-R is set at unity, with a flat EQ and no processing. One matrix mix is for the control room monitors, the other feeds the live stream. This allows independent EQ controls for monitoring and streaming.

    If you decide to use an aux instead, you have 2 mixes to maintain, one for your monitors and another for the stream. This is a bit trickier since you are maintaining 2 separate mixes. This is good for live services where you are streaming from the same console, but when using a dedicated console for streaming, the use a matrix mixes is easier IMO.

    Profile photo of Hugh

    The primary facts that will determine a “best practice” in any endeavor of this nature is the relative balance between mic input and the ancillary contribution of music not involved with the console. For instance if your service is primarily spoken word into a mic and a stage piano and acoustic guitar player/singer using a mic, one mix will work well. However if a pipe organ and large choir is involved or a hot amped back line like many contemporary services now offer, totally different mixes will be absolutely necessary.
    There are way too many variables to expound on effective dual mix protocols in this thread however the trial and error process that we all know very well is going to be necessary and please remember the SR mantra “if it sounds good—it is good”!

    Profile photo of SteffenR

    Could someone please recommend a good solution for this?

    I can describe what I would do…

    I would definitely use a matrix, but additionally I would use a matrix for the house mix first…
    The matrix will be the output for the house and will contain any processing related to the FOH like PEQ and GEQ and most of the time a little compression…
    My Main mix will not contain any processing at this point…
    you can mix now to a flat main bus and use the 3 matrix mixes to distribute your mix to different destinations
    if something is missing, like main vocals or the speech is to low then you can send the needed signals to a sub group/mix and now you are able to add it to the matrix as well

    Hope that helps…

    PS: on the dLive you are able to mix inputs to matrices as well

    Profile photo of ianhind

    Personally I’d do one of two things, depending how much work you want to do.

    Option 1 (quick easy way):
    All inputs go to your mains.
    Mains feed your Matrices (aka Matrix)
    Matrix 1-2 (stereo) is your PA
    Matrix 3-4 (stereo) is your broadcast feed
    Matrix 5/6 can either be a lobby feed, balcony, delay tower, etc

    Advantages: you can process your outputs individually (GEQ, comp, PEQ, inserts) and it’s simple to setup
    Disadvantages: however you mix your house is how the feed will be sent. Eg if you have drums dipped in the mix due to a small room (naturally they’re filling the room), your broadcast mix will lack drums.

    Option 2 (better option, bit more work):
    All inputs go down to groups, everything!
    Mix into your groups (Drums, Guitars, Vocals, whatever you need)
    You then “mix” your groups down to your mains/matrices

    Advantages: You have control of entire elements over their mix output. Broadcast needs more drums? Push the drum group up in Matrix 1-2 and it won’t affect your PA mix. Too much vocal in broadcast? Pull your vocal group down in Matrix 1-2. Too much drums in the PA? Pull the drum group down in the main mix.
    Disadvantages: A bit more work to set up, eats up valuable Aux/Buss channels.

    Profile photo of volounteer


    Depends what you need.

    We used to use matrix on our Qu to feed the video camera to record for later playback.

    Now we use a new mix to feed an audio interface that goes to a PC as does the video from the camera.
    The camera mike is turned off in software and ignored. The PC mike is turned off too.
    The mix allows us to do a soundcheck for the streaming folks and to tweak it if they want changes.
    Sometimes they ask for changes during the service. Seems like some folks do not have a uniform level when they perform:)
    That tweak is easy with mix. Push the button adjust one fader. Go back to the main layer with another button push.

    The mix has all the live mikes and sources.
    The matrix only had the pastors mike as they only recorded his portion of the show for posting.
    And his levels were tweaked in a DAW to add our recording to the video when necessary.

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