Question 1

How do I set gain (preamp level) on a digital console?

Accepted Answer

Set gain first, before any EQ or faders. Pull the channel fader down, press the channel's solo button (depending on your console, it may be labeled Solo, PFL or Cue), and have the person play or sing at their real show level, not a soft check level. Turn gain up until the meter sits well clear of the top on normal playing and the loudest hits still have room before the red clip light. Then bring the fader up near 0 (unity) and mix with faders. If a channel clips with gain all the way down, turn on the pad. Set the speaker or amp level last, so you are not raising preamp gain to make a quiet PA louder. Advanced: Faders have the finest control near unity; when the fader is pulled down low, a small move is a big level change. Gain changes move the level into the gate, compressor and every pre-fade send, so re-check dynamics thresholds and monitor mixes after any gain change. When two consoles share one stage box, decide which one owns the head-amp gain (many consoles use a separate digital trim for this) so nobody's monitor mix jumps.

Question 2

Should my channel meters sit at -18 dBFS or near 0?

Accepted Answer

On a digital console 0 dBFS is the hard ceiling: anything over it clips. Many engineers aim for an average level somewhere around -18 to -20 dBFS with peaks well below 0. That is a working habit, not a rule from any console maker or standard. It gives room for a singer who gets louder in the bridge. What matters most is: no clipping, enough level that you are not adding noise, and faders that end up near unity. Advanced: There is no universal analog equivalent of 0 dBFS; each manufacturer maps it differently, so check with a test tone when feeding another device.

Question 3

What is the difference between gain, trim and the fader?

Accepted Answer

Gain is the analog preamp that brings a mic up to a usable level; it sets how clean the signal is. Trim is a digital level control after the preamp; it does not change the preamp, so it is handy when another console owns the gain or for line sources with no preamp. The fader sets how much of that channel goes into the mix. Rule of thumb: gain for a healthy signal, fader for the mix. Advanced: Some consoles can link trim to preamp gain (often called gain tracking or gain compensation), so if the preamp gain changes, the level going to the mix stays the same. This is handy when two consoles share one stage box. On stereo pairs, if your console can't link preamp gains, set them the same and link the trims.

Question 4

What is signal flow, and why does everyone say learn it first?

Accepted Answer

Signal flow is the path sound takes: source, mic or DI, cable, stage box or input, preamp, channel processing (filter, gate, EQ, compressor), fader, bus or main, output, amp, speaker. When something goes wrong, you follow that path and check each step in order. Almost every 'I have no sound' or 'why is this in the wedges' question is answered by tracing signal flow. On digital consoles add one step: routing/patching, which decides which physical input feeds which channel. Advanced: Learn your console's routing screen early. Some consoles patch inputs in blocks (for example, 8 at a time), while others let you patch every input one by one. Draw the system on paper once; it pays off the first time it breaks.

Question 5

When do I need a DI box?

Accepted Answer

Use a DI (direct box) to turn an unbalanced instrument or line signal (bass, acoustic with pickup, keyboard, laptop, phone) into a balanced mic-level signal that can travel down a long snake without picking up noise. A passive DI suits hot sources like keyboards; an active DI suits low-output passive pickups. Most DIs have a pad and a ground-lift switch, which is your first fix for hum. Advanced: For stereo keys or playback, use two channels of DI. A transformer-isolated DI also breaks ground loops between the stage and the console's power.

Question 6

Is phantom power safe for every mic?

Accepted Answer

Phantom power (+48 V) is applied equally to pins 2 and 3 of a balanced XLR, so a balanced dynamic mic is not harmed by it. Condenser mics and active DIs need it. Take care with passive ribbon mics: turn phantom off before plugging or unplugging, and never feed one through a bad cable or TRS patch. Turn phantom on or off with the channel muted to avoid a loud pop. Advanced: Some consoles make you hold the +48 V button for a moment before it turns on, so it can't be switched on by accident. Active ribbons (for example some Royer and AEA models) need phantom; check the maker's manual.

Question 7

How do I stop feedback?

Accepted Answer

Feedback is sound from a speaker getting back into an open mic and looping. Fix the physics first: get the mic closer to the source, keep mics behind and away from speakers, point the mic's dead side at the wedge, mute mics nobody is using, and avoid big EQ boosts. Shure notes that each time you double the speaker-to-mic distance you gain about 6 dB of output before feedback, and halving the source-to-mic distance does the same. Only then reach for EQ: find the ringing frequency and cut it a few dB. Advanced: Shure's Potential Acoustic Gain formula: gain before feedback drops about 3 dB every time the number of open mics doubles. Processing cannot beat the physics, it can only get you closer to the limit. Shure's rough guide: hoots or howls often around 250-500 Hz, singing tones around 1 kHz, whistles above 2 kHz.

Question 8

How do I ring out wedges?

Accepted Answer

Do one wedge at a time. Put the real vocal mic where the singer will stand, with only that mic open. Slowly raise its send to the wedge until it just starts to ring. Find the frequency (by ear or with the console's RTA) and cut that band on the wedge's graphic EQ by about 3 dB. Raise again, find the next one, cut again. Stop after a handful of cuts; if it still rings early, move the wedge or mic, or turn down. Advanced: Put a graphic EQ on each wedge bus. Some consoles have one built into every bus, while others use an FX slot. Many consoles can put the graphic EQ bands on the faders and show an RTA (a frequency display) to help you spot the ringing note. Ring out with the mic at the angles singers really use, including pointed at the wedge for a moment.

Question 9

Where should the wedge point for a cardioid vs a supercardioid mic?

Accepted Answer

A cardioid mic rejects most from directly behind, so put the wedge straight behind the mic (in front of the singer). A supercardioid (like a Beta 58A) rejects most at about 120 degrees off the front, so Shure says to place monitors at those angles, not directly behind. For a supercardioid that means two wedges angled in from the sides, or one off to the side. Advanced: Shure also lists the 3-to-1 rule for multiple mics: keep mics at least three times as far from each other as each is from its source.

Question 10

Are automatic feedback suppressors worth it?

Accepted Answer

They can help, especially with wireless mics where the talker wanders near a speaker. They are a safety net, not a fix. Shure says not to rely on an EQ or feedback reducer alone when mics and speakers are too close together. Set up good mic placement first, then let the suppressor catch surprises. Advanced: Use narrow, fixed filters set during ringing out, and only a few dynamic filters, so the suppressor does not keep notching music.

Question 11

The band keeps asking for 'more me' and the stage is too loud. What do I do?

Accepted Answer

Keep monitor mixes lean. Start each mix with that person's own voice or instrument and only the cues they really need (pitch and time), not the whole band. Loud stage volume washes into the vocal mics and into the room, so the house mix gets worse. Turn down amps, aim amps at the players instead of at the audience, and suggest IEMs where you can. Advanced: Shure lists in-ear monitors as a feedback fix. Before you add level, try taking things out of a mix; often the player can then hear themselves.

Question 12

Should I use the high-pass filter on every channel?

Accepted Answer

Nearly every channel that is not a low-frequency source, yes. Turn the HPF on and sweep it up until the sound starts to thin, then back it off a little. It removes rumble, stage noise and low-end mud, and on vocals it helps cut low-frequency feedback. Leave it off or very low on kick, bass and anything that needs deep lows (some keys, floor tom). Advanced: How high the filter goes, and how steep it is, depends on the console. If yours doesn't go high enough, set the lowest EQ band to a low-cut shape. Some channels, like aux or playback inputs, may not have a filter at all, so use the EQ there. Many consoles also have a low-pass filter (LPF) to trim harsh highs.

Question 13

Should I cut or boost? How wide?

Accepted Answer

Cut first. Fix what sounds wrong (boom, boxiness, harshness) with a cut before adding anything. Use narrow cuts for a single problem like a ringing note, and wider, gentle moves for tone. Big boosts eat headroom and bring you closer to feedback. Always judge EQ in the full mix, not in solo. Advanced: A useful trick to find a problem: boost a narrow band a lot, sweep until it sounds worst, then turn that boost into a cut. Do it quietly and briefly, with the PA under control.

Question 14

Why does my mix sound muddy?

Accepted Answer

Usually too much low-mid energy (roughly 200-500 Hz) building up from many channels at once, plus a room that holds onto bass. Fix it in this order: HPF every channel that does not need lows, cut low-mids on guitars, keys and vocals where they sound boxy, turn down stage volume, and check the subs are not too loud. Don't cut the same range on everything; kick, bass and some keys need it. Advanced: If the mud is the room, EQ cannot remove reverberation; it can only stop you from feeding it. A system EQ cut may help a little, but measure in several seats before changing it.

Question 15

What does a compressor do, and what are good starting settings for a live vocal?

Accepted Answer

A compressor turns down the loudest moments so the vocal stays more even. Threshold is where it starts working, ratio is how hard, attack is how fast it grabs, release is how fast it lets go, and makeup gain brings the level back up. A common gentle starting point for a lead vocal is a ratio of about 2:1 to 4:1, a fairly fast attack, a medium release, and the threshold set so it only shows a few dB of gain reduction on loud lines. Then adjust by ear. Advanced: Some consoles only offer set ratio steps, so pick the closest one. Many digital consoles also have several compressor models, including copies of classic hardware, and some of those cost extra.

Question 16

Should I gate drums?

Accepted Answer

Gates are most useful on toms, which ring and pick up cymbals when not played. Kick and snare often don't need one in a band mix, and gating snare can cut ghost notes. If you gate, use a fast attack, enough hold to keep the drum's natural ring, and a range (depth) of around 20-30 dB rather than full mute, so the tail fades naturally. Advanced: Use the gate's key filter (side-chain filter) tuned to the drum so cymbal hits do not open it. The gate's range (sometimes called depth) sets how far it turns the drum down when it closes. A setting of about 10 to 20 dB usually sounds more natural than shutting it off completely.

Question 17

Compressor before or after EQ?

Accepted Answer

Both work. EQ before the compressor means the compressor reacts to your shaped tone (cutting a boomy low end first stops the boom from triggering compression). Compressor before EQ means EQ changes don't change how hard it compresses. A common habit is to fix problem frequencies (HPF, boom, harshness) before the compressor, then shape the tone after it. Keep in mind that if EQ comes before the compressor, changing that EQ during the show also changes how hard the compressor works. Advanced: Many digital consoles let you switch the order of the compressor and EQ on each channel. On some consoles that setting is saved with the whole show instead of each scene, so recalling a scene won't change it.

Question 18

Why can't I hear the vocals over the band?

Accepted Answer

Start the mix with the lead vocal and build the band around it. Then make space: HPF the vocal, cut the instruments that fight it in the upper mids, and turn down loud stage sources, because you can't turn down a loud guitar amp or drummer from the console. Check the singer's mic technique: a singer far from the mic gives you more band bleed than voice. Advanced: Pan guitars and keys off center a little so the vocal owns the middle (if your PA covers both sides well). If your console has a dynamic EQ or multiband compressor, put one on the keys or guitars and set it to react to the vocal. It will turn down their mids only while the singer is singing.

Question 19

How do I make the pastor or spoken-word mic clear?

Accepted Answer

Clarity first, volume second. Use a headset if you can (see the Church section), HPF the voice, cut boomy low-mids if the voice sounds muffled, and avoid over-boosting the highs. Use gentle compression so quiet and loud moments stay even. Keep the band and playback down while someone is speaking. Advanced: A short checklist used by many church engineers: set gain at the speaker's real volume, ring out the speaking mic at its real position, and build a scene for the sermon that pulls band DCAs down and mutes unused mics.

Question 20

How do I tame harsh 's' sounds (sibilance)?

Accepted Answer

Use a de-esser, or a dynamic EQ band in the upper treble, so it only turns down the 's' when it happens. A plain EQ cut there also dulls the voice all the time. Check the singer's mic: a bright mic or singing straight into the top can make it worse. Advanced: Many digital consoles have a de-esser you can insert on the vocal channel, often as one of the built-in effects. Some also have dynamic EQ, which may be built in or a paid add-on.

Question 21

The singer cups the mic. Why is that a problem?

Accepted Answer

Covering the grille changes the mic's pickup pattern so it loses its rejection and acts closer to omnidirectional. That means more feedback and a honky, muffled sound. Ask singers to hold the handle, not the head. Shure lists this as a top cause of feedback. Advanced: If you can't change the habit, ring out the monitor and FOH mixes with the mic cupped, and give that singer less in their wedge.

Question 22

What is a good starting EQ for the kick drum?

Accepted Answer

Start flat. Common moves: a little HPF very low to clear sub-rumble below what the PA can reproduce, a cut in the boxy low-mids if it sounds like a cardboard box, and a small boost in the upper mids for the beater click so it cuts through. Then add low end only if the PA and the song need it. Every kick, mic and room is different, so sweep and listen. Advanced: For metal, the beater click range matters a lot for fast double-kick parts. For worship and country, a rounder kick with less click often fits better.

Question 23

Why do I flip polarity on the snare bottom mic?

Accepted Answer

When the drum is hit, the top head moves away from the top mic while the bottom head moves toward the bottom mic, so the two signals are opposite. Added together, low end cancels and the snare sounds thin. Flipping polarity on the bottom mic lines them up. Listen to both mics together and pick the setting with the most body. Advanced: Polarity flip is not the same as a phase (time) fix. It does not fix arrival time differences between close mics and overheads; channel delay can help there.

Question 24

The drums are too loud in a small room. What can I do?

Accepted Answer

Physics first: lighter sticks or rods, a drum shield, moving the kit, or an electronic kit. A shield stops some direct sound but reflects sound back to the drummer and into nearby mics, so it is not a full fix. In a loud room, mix the rest of the band to the drums rather than turning the drums up. Advanced: In churches with a hard room, a full enclosure plus IEMs for the drummer is the common long-term fix; a shield alone often moves the problem to the cymbals.

Question 25

Bass: DI, mic the amp, or both?

Accepted Answer

A DI is the most reliable: clean, no bleed, and the same every week. Ask for a DI before the amp's EQ (pre-EQ) so the amp's room-tuned EQ does not end up in the PA. If you have a good amp tone and a spare channel, add a cab mic and blend it in for grit. Advanced: When blending DI and mic, check polarity and timing; the mic arrives later than the DI. Flip polarity or add a small delay on the DI until the low end is fullest.

Question 26

How do I stop acoustic guitar feedback?

Accepted Answer

Acoustic guitars feed back at low frequencies because the body resonates. Try a soundhole cover, turn the guitar's own level down and the console gain up only as needed, HPF it, notch the ringing frequency with a narrow cut, and keep the player out of the PA's path. Keep the acoustic low in that player's wedge, or use IEMs. Advanced: A full soundhole plug changes the tone; vented covers are a middle ground. Polarity flip on the channel sometimes moves feedback a little; try it.

Question 27

How do I set up reverb on vocals the right way?

Accepted Answer

Use an aux (FX) send to a reverb, with the reverb set 100% wet, and bring it back on an FX return. Control how much each channel gets with its send. Start subtle: in a live room the room adds reverb already. Use shorter rooms or plates on fast songs and longer halls on slow ballads. Add a bit of pre-delay to keep words clear. Advanced: Consoles have a limited number of effects slots, and on some, only certain slots can be used as send and return effects or run the bigger reverbs. Check which ones yours allows before you build your show. Filter the reverb return to keep it out of the mud and sibilance. A good starting point is an HPF around 200 to 300 Hz and an LPF around 5 to 10 kHz, then adjust by ear.

Question 28

How do I time a vocal delay to the song?

Accepted Answer

Use tap tempo on your console's delay so repeats land on the beat (quarter notes or dotted eighths are common). Keep feedback (repeats) low, put it on the ends of lines rather than everywhere, and throw it in by riding the send. Turn it off for talking. Advanced: Many consoles let you put tap tempo on an assignable button so it's always in reach, and some let you set the delay by BPM and note value (like a quarter note or dotted eighth). Filter the delay return so repeats sit behind the vocal.

Question 29

How do I build a good IEM mix?

Accepted Answer

Start with the person's own voice or instrument, then add only what they need for pitch and time. Stereo IEM mixes (two sends per person) usually sound more natural and can run quieter than mono because you can pan things apart. Ask the musician what they want to hear and change one thing at a time. Advanced: Watch your bus count: each stereo IEM mix uses two buses, so check how many your console has before you promise everyone stereo. Many consoles have a sends-on-faders mode (the name varies) that puts one mix's sends on the faders, which makes building mixes much faster.

Question 30

Should monitor sends be pre-fader or post-fader?

Accepted Answer

Pre-fader for monitors and IEMs, so your FOH fader moves don't change what the band hears. Post-fader for effects sends, so the reverb follows the channel level. Advanced: On some consoles, muting a channel or a mute group also mutes its pre-fader sends, so the band loses it in their monitors too. Check how yours behaves before you mute things during a show. Some consoles also let you choose where pre-fader sends are taken from, such as before or after the EQ.

Question 31

Why do musicians on IEMs say they feel cut off, and how do ambient mics help?

Accepted Answer

Sealed earphones block the room, so the band can feel isolated. A pair of audience or ambient mics, fed low into the IEM mixes, brings back the room and crowd. Ride them up between songs and down while playing, so they don't smear the mix. Advanced: Point ambient mics at the audience and away from the PA. Keep the same ambient level across mixes so the band has a common reference.

Question 32

How loud is safe in IEMs?

Accepted Answer

As quiet as works. A good seal (correct tips) blocks outside noise and lets you run lower. Shure's guidance is to use the lowest level that lets you hear clearly and not to turn up to cover ringing. Keep the transmitter limiter on. If ears hurt or ring, stop and turn down. Advanced: There is no safe 'number' to set on the pack because the level at the eardrum depends on earphones, seal and source. Use NIOSH exposure guidance as a reference for your overall day.

Question 33

How loud should a church service be?

Accepted Answer

There is no single right number. It depends on the room, the style and the church's leadership. Many contemporary churches report averages in the 80s to mid 90s dBA, while traditional services run lower. Pick a target with your leaders, measure it the same way every week (A-weighted, slow, averaged), and check several seats, not just the booth. The front rows are often louder than the mix position. Advanced: For hearing risk, NIOSH recommends 85 dBA over 8 hours, with the time halving for every 3 dB louder. OSHA's legal limit is 90 dBA for 8 hours with a 5 dB exchange rate. A long-term average (Leq) tells you more than a peak reading on a phone app.

Question 34

Headset or lavalier for the pastor?

Accepted Answer

Headset, if the pastor will wear one. It sits close to the mouth and stays there when they turn their head, so you get much more gain before feedback. A lav on the chest changes level as they turn and picks up more room. Place the headset capsule near the corner of the mouth, out of the breath path. Advanced: Directional headsets reject more stage noise but must be aimed correctly; omni headsets are more forgiving of placement. Ring out the speaking mic at the spots where the pastor really walks.

Question 35

How do I stop volunteers from accidentally breaking the console setup?

Accepted Answer

Build one known-good show and save it. Use scenes for each part of the service, and protect the things that should never change (routing, preamp, bus setup) with safes. Lock down access where your console allows it. Write a one-page start-up sheet and keep a backup on a USB drive. Advanced: Depending on your console, look for these: safes, which keep routing and settings from changing when a scene is recalled; recall filters; a setting that loads a known scene when the console powers on; and user profiles or permissions that limit what an operator can change. Some tablet apps can't save scenes, so make scene changes on the console or its editor software.

Question 36

How should I train new church sound volunteers?

Accepted Answer

In steps: learn the basics (signal flow, gain, feedback, simple EQ), watch someone experienced run a service, run one with a mentor beside you, then run alone with help on call. Practice on a recording of a past service (virtual soundcheck) so mistakes cost nothing. Advanced: Write down your church's standard: start-up steps, scene list, which faders matter, and who to call. Keep the volunteer surface simple (DCAs or a user layer).

Question 37

Why does our livestream sound different from the room, and how do I fix it?

Accepted Answer

The house mix is built to work with the loud drums, amps and room sound people already hear, so it leaves those quiet. On a stream, those sources are missing, so the vocals sound too loud and the band thin. Feed the stream its own mix, not just the main left/right: use a separate bus or matrix with its own balance, compression and EQ. Advanced: Common setups: post-fader stereo bus for the stream (tracks your FOH moves), or groups/stems (drums, band, vocals, speech) summed into a matrix so you can rebalance for broadcast. Best: a second console or operator mixing raw inputs. Depending on your console, use matrices or a pair of buses. On some consoles you have to set up matrices before the show, so plan this ahead of time.

Question 38

How loud should the stream mix be (LUFS)?

Accepted Answer

Use a loudness meter (LUFS) on the stream feed and a limiter at the end. Keep true peaks below about -1 dBTP so the encoder does not distort. As a reference, the AES streaming document TD1008 gives -18 LUFS as the distribution loudness for speech and mixed content. Many church streams aim a bit louder for platforms like YouTube, but YouTube doesn't publish its exact target. Advanced: TD1008 is guidance for streaming services, not a rule for mixers. Measure a full service, not one song: a sermon and a loud worship set average very differently.

Question 39

Which wireless mic frequencies are legal in the US?

Accepted Answer

Per the FCC: unlicensed wireless mics can use unused TV channels 2-36, 614-616 MHz (600 MHz guard band) and 657-663 MHz (duplex gap). 653-657 MHz needs a license. 617-652 MHz and 663-698 MHz were reassigned to mobile service, and the 700 MHz band is no longer allowed. Other unlicensed options include 902-928 MHz, 1920-1930 MHz and parts of 2.4 and 5 GHz. Check older systems against Shure's legal-band chart and use a frequency finder for your area. Advanced: Unlicensed mics are limited to 50 mW in the TV bands and 20 mW in the 600 MHz guard band and duplex gap. In 2024 the FCC also added rules for WMAS (wideband multichannel systems). Outside the US, rules differ.

Question 40

Why does my wireless mic drop out?

Accepted Answer

Start simple: fresh batteries, stock antennas on the receiver, receiver out of a metal rack and away from other gear, and a clear line of sight to the stage. If it works that way, the problem is in your antenna cables, distribution or remote antenna placement. Then scan for interference and re-coordinate frequencies. Advanced: Shure's guidance: keep remote antennas in the same room as the performers with clear line of sight, away from metal and other antennas, and use low-loss cable. Do a walk-test of the whole stage before every show.

Question 41

Rechargeable or alkaline batteries in wireless mics?

Accepted Answer

Both work. Maker-specific rechargeable packs (like Shure SB900) give accurate run-time readings on supported systems. Good NiMH AA cells are cheaper but their voltage curve differs, so the battery meter may read low early or drop off fast. Whatever you use, start every service with fully charged or fresh batteries, and label and rotate them. Advanced: Check your receiver's battery-type setting so the meter matches the chemistry. Run times vary by model; check your system's manual rather than a general number.

Question 42

How do I get rid of hum or buzz?

Accepted Answer

Hum is often a ground loop: two pieces of gear connected by audio and by different power grounds. Power all the stage and console gear from the same circuit if you can. Unplug inputs one at a time to find the source. Use the ground-lift switch on a DI or an isolation transformer. Never remove or cut the safety earth on a power cord; that can make metal parts live in a fault. Advanced: Lifting pin 1 at one end of a balanced line, or using a transformer isolator, breaks the audio ground path safely. Check for a bad cable or a dimmer circuit sharing power if the buzz has a harsh edge.

Question 43

I have no sound. Where do I start?

Accepted Answer

Follow signal flow from the source. Is the channel's meter moving? If no: check mic, cable, stage box, routing/patch, phantom (for condensers), mute and gain. If yes: check fader, mute groups and DCAs, main assign, master fader, outputs routing, then amps and speakers. Change one thing at a time. Advanced: On digital consoles, an old scene with different routing is a common cause. Check your console's input and output patching, and check whether recalling a scene also changed the patch.

Question 44

My digital stage box keeps dropping out or clicking. What causes that?

Accepted Answer

Usually cable. Many digital stage boxes need shielded Cat5e or better, with shielded connectors, and every link has a maximum cable length (often about 100 m). Check your console's manual for its limit. Unshielded or damaged cable causes clicks and link errors. Check clock settings when other digital devices are connected. Advanced: Many consoles and stage boxes show a link or error light or message when the connection drops. Treat that as a cable problem first. If you use a Dante card, the console and the card both need their clock settings set correctly.

Question 45

Should I run the PA in stereo or mono?

Accepted Answer

In most rooms, mix mostly mono. People on the left side hear mostly the left speaker, so something panned hard right can disappear for them. Stereo works when most seats hear both sides at similar level. A good compromise: keep core sources (vocals, kick, snare, bass) center, pan only a little, and use stereo for effects. Advanced: Measure or walk the room. Where left and right overlap with different arrival times you get comb filtering, so even a centered source can sound different seat to seat.

Question 46

Aux-fed subs or a crossover?

Accepted Answer

Crossover (subs fed from the full mix and split by frequency) is simplest and keeps the sub-to-top relationship stable. Aux-fed subs send only chosen channels (kick, bass, synths, toms) to the subs, so vocal mics and stage rumble stay out of them. Aux-fed gives cleaner low end but needs care: keep sends at a fixed level, because changing send levels moves the crossover balance. Advanced: Whichever you use, align subs and tops at the crossover with a measurement. To feed aux-fed subs, use a spare mix bus, or a mono or center main bus if your console has one.

Question 47

What is a cardioid sub array and do I need one?

Accepted Answer

It's an arrangement of subs (for example two facing forward and one facing back, delayed and polarity set) that cancels bass behind the array. It reduces low end on stage and toward the back wall. d&b's CSA design claims around 20 dB of rejection to the rear and asks for at least 60 cm (2 ft) of space behind the stack. Useful if the stage is boomy or the band complains of sub wash. Advanced: End-fire arrays (subs in a line, front ones delayed) give strong forward directivity; gradient/cardioid stacks are more compact. Both need correct delay and polarity per the maker's setup notes, and a measurement to confirm.

Question 48

How do I time-align a delay or fill speaker?

Accepted Answer

Delay the closer speaker so its sound arrives with (or slightly after) the main PA. Sound travels about 343 m per second at 20 C, which is about 2.9 ms per metre, or about 0.89 ms per foot. Measure the extra distance from the main speaker to the listening point compared with the fill, convert it to milliseconds, and set that as output delay. Then check by ear or with a measurement. Advanced: Many engineers add a few extra milliseconds so the main PA arrives first and the image stays on stage. Temperature changes the speed of sound, and some consoles can work out the delay for you from the distance and temperature.

Question 49

Can EQ fix a bad-sounding room?

Accepted Answer

No. EQ can't remove echo or long reverb; the room holds onto sound in time, not just in frequency. EQ can only stop you feeding the worst build-ups. Real fixes are speaker choice and aiming (keep sound on the audience and off walls), acoustic treatment, and lower stage volume. Advanced: Use a dual-channel measurement (transfer function) at several positions and only correct what is common to all of them. A narrow cut that fixes one seat often harms another.

Question 50

M32 vs X32: are they the same? Can I swap show files?

Accepted Answer

They share the same mix engine and firmware lineage, and show and scene files can be moved between them; keep both on the same firmware. The differences are hardware: Midas PRO preamps on the M32, and the build and faders. The original M32 is listed by Midas as no longer made (support continues); the M32 LIVE is the current full-size model. Advanced: Both have 40 inputs (32 channels + 8 aux), 16 mix buses, 6 matrices, 8 DCAs, 6 mute groups, and 8 stereo FX slots. Editors (X32-Edit/M32-Edit) and third-party Mixing Station must match the console firmware.

Question 51

M32/X32: why does changing one input change eight channels?

Accepted Answer

Classic routing on the M32/X32 assigns inputs to channels in blocks of 8 (for example Ch 1-8 = Local 1-8). Since firmware 4.00, User In lets you route any single source to a user slot, then pick that user block as a channel source, so you can mix local and stage-box inputs without giving up a whole block. Advanced: Save routing presets (Routing > Utility) for 'Live' and 'Virtual soundcheck'. Param-safe Routing so older scenes don't bring back old blocks.

Question 52

M32/X32: how do I record multitrack and do a virtual soundcheck?

Accepted Answer

Set the USB/SD card to 32 in/32 out, route Card Out to your inputs (raw, before processing), and record in your DAW or on the DN32-LIVE/X-LIVE SD cards. For virtual soundcheck, switch the channel input blocks to Card 1-8, 9-16 and so on, and play the recording back through the console. Advanced: Since FW 4.11, SD/USB transport can switch inputs automatically. Always check card routing after loading an old scene.

Question 53

Avantis Solo vs Avantis: what's the difference?

Accepted Answer

Same mix engine and same show files. The Solo has one 15.6-inch screen, 12 faders on 6 layers and 6 local inputs/outputs; the dual-screen Avantis has two screens, 24 faders and 12 local in/out. Both run 64 inputs and 42 configurable buses (96/56 with the dPack upgrade). Advanced: Use Lock Master Strips on the Solo to keep mains and DCAs on the right-hand faders. A&H lists separate firmware downloads for the Solo and dual-screen models; pick the right file before updating.

Question 54

Avantis: why did my mix reset when I changed Mixer Config?

Accepted Answer

Applying a new Mixer Config (bus types and counts) resets mix parameters. Plan your buses first (groups, auxes, FX sends, matrices, main mode), apply it, then build the show. Don't change it on a show day. Advanced: Mixer Config and the PEQ/comp order live in the Show, not in scenes. Two PAFL buses are possible; the RTA and wedge/IEM strips follow PAFL 1.

Question 55

Avantis: how do I do virtual soundcheck?

Accepted Answer

In I/O > Virtual SoundCheck, pick the I/O port (for example a Dante card), patch 1:1, and switch between Record Send and Virtual SoundCheck modes. The channel name frame turns orange while VSC is active. Per-channel override lets a live mic run alongside playback. Advanced: VSC modes are separate from scenes, so recalling scenes during VSC is safe. For processed recordings, patch direct outs and set the global direct-out source point.

Question 56

Yamaha: what's the difference between Recall Safe and Focus?

Accepted Answer

Recall Safe protects chosen channels or parameters from every scene recall (global). Focus is set per scene and limits what that scene recalls. Mixing both up is a common cause of 'my scene didn't change that'. Advanced: Allen & Heath's equivalents are Global Scene Safes and per-scene Recall Filters; Midas M32 uses Param Safe/Chan Safe plus per-scene safes.

Question 57

Is Behringer WING just a bigger X32?

Accepted Answer

No, it's a different platform. WING has 48 stereo-capable channels (40 inputs + 8 aux), 16 stereo buses and a different sources/channels model, so treat it as a new console to learn rather than an X32 upgrade. It can share AES50 stage boxes with the X32/M32 family. Advanced: WING's source/channel split and per-channel Main/Alt source make virtual soundcheck a one-button swap.

Question 58

How do I get into live sound as a career?

Accepted Answer

Start local and start with labor. Call local production companies and venues, ask to help on load-ins, push cases, coil cables, and be on time. Volunteer at churches and community events to get console time. Shadow engineers and ask good questions. Reliability and attitude get you the second call; skills grow from there. Advanced: Join union overhire lists (for example IATSE locals) where they exist, learn safety (rigging, power), and keep a short list of shows and systems you've worked on.

Question 59

How do I train my ears and learn faster?

Accepted Answer

Mix often, including on recordings (virtual soundcheck) where you can repeat the same song. Do frequency ear training: have someone play a tone and guess it. Compare your mix to a reference track at the same level. Listen in different seats. Learn one tool at a time. Advanced: Record every show and listen back the next day with notes. If you can get time on more than one console, mix the same multitrack on each one. It's a great way to learn how each console works.

Question 60

Should engineers wear hearing protection?

Accepted Answer

Yes, when levels are high for long periods, and always on loud stages. Your ears are the tool of the job. Musician-style flat-response earplugs keep the balance more natural than foam plugs, so you can still judge a mix. Track your day: NIOSH recommends 85 dBA for 8 hours, with allowed time halving for every 3 dB louder. Advanced: Know the difference: OSHA's 90 dBA/5 dB rule is the legal US workplace limit; NIOSH's 85 dBA/3 dB guidance is stricter and health-based.

Live Sound FAQ: The Questions Everyone Asks

Top 10 most-asked

Contents

1. Getting started and gain staging

Q1. How do I set gain (preamp level) on a digital console?

Q2. Should my channel meters sit at -18 dBFS or near 0?

Q3. What is the difference between gain, trim and the fader?

Q4. What is signal flow, and why does everyone say learn it first?

Q5. When do I need a DI box?

Q6. Is phantom power safe for every mic?

2. Feedback and monitors

Q7. How do I stop feedback?

Q8. How do I ring out wedges?

Q9. Where should the wedge point for a cardioid vs a supercardioid mic?

Q10. Are automatic feedback suppressors worth it?

Q11. The band keeps asking for 'more me' and the stage is too loud. What do I do?

3. EQ

Q12. Should I use the high-pass filter on every channel?

Q13. Should I cut or boost? How wide?

Q14. Why does my mix sound muddy?

4. Compression and gates

Q15. What does a compressor do, and what are good starting settings for a live vocal?

Q16. Should I gate drums?

Q17. Compressor before or after EQ?

5. Vocals

Q18. Why can't I hear the vocals over the band?

Q19. How do I make the pastor or spoken-word mic clear?

Q20. How do I tame harsh 's' sounds (sibilance)?

Q21. The singer cups the mic. Why is that a problem?

6. Drums

Q22. What is a good starting EQ for the kick drum?

Q23. Why do I flip polarity on the snare bottom mic?

Q24. The drums are too loud in a small room. What can I do?

7. Bass, guitars and keys

Q25. Bass: DI, mic the amp, or both?

Q26. How do I stop acoustic guitar feedback?

8. FX

Q27. How do I set up reverb on vocals the right way?

Q28. How do I time a vocal delay to the song?

9. IEMs and monitor mixes

Q29. How do I build a good IEM mix?

Q30. Should monitor sends be pre-fader or post-fader?

Q31. Why do musicians on IEMs say they feel cut off, and how do ambient mics help?

Q32. How loud is safe in IEMs?

10. Church and volunteer teams

Q33. How loud should a church service be?

Q34. Headset or lavalier for the pastor?

Q35. How do I stop volunteers from accidentally breaking the console setup?

Q36. How should I train new church sound volunteers?

11. Live streaming and broadcast mixes

Q37. Why does our livestream sound different from the room, and how do I fix it?

Q38. How loud should the stream mix be (LUFS)?

12. Wireless and RF

Q39. Which wireless mic frequencies are legal in the US?

Q40. Why does my wireless mic drop out?

Q41. Rechargeable or alkaline batteries in wireless mics?

13. Troubleshooting: hum, noise, dropouts

Q42. How do I get rid of hum or buzz?

Q43. I have no sound. Where do I start?

Q44. My digital stage box keeps dropping out or clicking. What causes that?

14. Speakers, PA, subs and room acoustics

Q45. Should I run the PA in stereo or mono?

Q46. Aux-fed subs or a crossover?

Q47. What is a cardioid sub array and do I need one?

Q48. How do I time-align a delay or fill speaker?

Q49. Can EQ fix a bad-sounding room?

15. Console-specific: M32/X32, Avantis/Avantis Solo and others

Q50. M32 vs X32: are they the same? Can I swap show files?

Q51. M32/X32: why does changing one input change eight channels?

Q52. M32/X32: how do I record multitrack and do a virtual soundcheck?

Q53. Avantis Solo vs Avantis: what's the difference?

Q54. Avantis: why did my mix reset when I changed Mixer Config?

Q55. Avantis: how do I do virtual soundcheck?

Q56. Yamaha: what's the difference between Recall Safe and Focus?

Q57. Is Behringer WING just a bigger X32?

16. Career and learning

Q58. How do I get into live sound as a career?

Q59. How do I train my ears and learn faster?

Q60. Should engineers wear hearing protection?

Rules of thumb, not hard specs