metering, the mix isn’t visual, EQ is minimal or
non-existent, and there isn’t always a dedicated
line-level output—but the cost is right and they
can definitely function while research and saving
for the implementation of a better option. (Fig. 4)
(Fig. 4)
5. iPAD
This is a really excellent option if your mixer is
digital and if it has a companion app for iPad
that allows for full mix control—that describes
pretty much all modern digital mixers.
• Assign a stereo aux bus to a stereo pair of
aux outputs and connect that output to the
streaming interface/switcher input.
• On the iPad app, select the designated bus
and have a separate sound operator control
the mix for the stream.
• Locate the iPad and operator in a separate
room with monitors or headphones so they
are isolated and not influenced by leakage
from the house mix.
• The operator should be listening to an audio
feed off the mixer or the send to the stream
interface/switcher, but not to the stream
itself coming back from Facebook, YouTube,
or other destination because there will be
far too latency (several seconds in many
cases) much to make timely and effective
mix changes.
• This method doesn’t require an extra mixer
for the separate operator because the iPad is
simply controlling a designated stereo aux on
the FOH mixer—it works very well.
• Make sure to set the aux to be postcompression
and post-EQ to take advantage
of the house settings. The only downside
to this approach is that the iPad-controlled
audio stream needs to rely on the EQ and
compression set up by the FOH engineer
and can’t be customized for the stream.
However, in most cases, the EQ and
compression settings work well in the house
and in the stream.
• If the stream operator is inexperienced and
lacking in confidence, set the aux to postfader
and start out with all of the faders at
unity. Instruct the operator to listen primarily
for overall balances and make changes for
things like the drums being too loud or soft
An in-ear monitor mixer can also be used to provide an audio mix to the live stream.
in the mix or the vocals needing a little boost the aux to pre-fader (still post-EQ and
or cut. Usually, a sound operator who is post-compression) and let the stream mix
developing his or her abilities lacks the focus operator customize all of the mix levels for
and intensity to stay with the mix 100-percent the stream. (Fig. 5)
of the time so they miss things that the main
FOH operator would catch. This method 6. TWO SEPARATE ROOMS
honors the trainee’s ability to judge overall It’s ideal to set up a completely separate
balances for the stream and takes advantage media room with all of the video switching and
of the main FOH mix operator to catch all of monitoring gear and a separate mixer just like
the mix details.
the one in the sanctuary—so it’s easy for your
• If the stream operator is experienced and audio crew to move back and forth between
already has excellent mixing chops, set the house and the media room. The old school
120 July 2020
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