Gain Structure SECRETS for Live Sound

In this video, we're taking a deep dive into the MOST important function of your mixing board: gain structure. We're going to learn how to set gain, balance levels, achieve great fader resolution, and more!

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Shoutouts to Ansanta, Dave Rat, Robert Scovill, Audio University, Plugged-in AV, and many others who's videos/blogs helped me come up with a clear and concise way to explain this very broad concept!

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00:00 Intro
00:27 Why Is Gain Structure Important?
01:30 Workflow Challenges
03:17 Faders vs. Gain For Volume
03:58 Optimizing Fader Levels
06:17 What Does Gain Actually Do?
07:25 What Is "Line Level"
09:01 Setting Your Input Gain
09:50 Gain Structure Through Faders
12:08 Using Audio Subgroups
13:28 Benefits Of Proper Gain Structure

Music Sync ID: MB01ZILDWRQTEPF

[alcraig]

As a very old analog jockey, I have a few points to make. On many consoles, the solo button can be used to route the signal to the main meters whilst keeping the fader at infinity. And then set the pre-amp gain to an optimal setting. When I teach gain structure, I pull out a schematic of a consoles' signal path and focus on the pre-amp module and discuss the options available (pad, phantom, phase revers and the triangular representation of the gain amp). Mic level in, line level out. And then follow the signal through the rest of the channel, keeping EVERYTHING at unity. In practice, a mic level tone oscillator at the input, should produce a -20dbfs (or 1.23 volts or 0VU) at the final output.

I always kept my sub-group faders at unity during sound check and at the start of the show. Then, if there was a drum solo, I could ever-so-slightly push that sub group up. I could easily control the backing vocals or the horn section. All the things you mention about the channel fader resolution also apply to the sub-group and main faders.

You need to take your explanation gain structure all the way to the speakers and include cross-overs and amps. Turn your amps all the way down. Run some pre-recorded music through your console, making sure it is properly gain-structured and is hitting the final output meters at an acceptable level. Now, start slowing turning up your amps until you get the desired volume in the room. Too many people start by turning the amps to 10 and then wonder why your method makes things too loud. If you're running a 3 way speaker system, start by turning up the low amps until it feel right in the room. Then, turn up the mids until it compliments the low end. Then turn up the highs until you get the right amount of crispness desired. You have now done the gross EQ for the room and the system. Any fine tuning of the room EQ is then handled by the 1/3 octave EQ (post the main faders and pre the amps).

[TJB]

I liked this video and found it very informational. My only thing is I wished you demonstrated what you were saying. It would really complete the learning experience of this video especially for the visual learners

[PanRider]

I always maintain proper gain levels start before the signal even leaves the stage. No point setting gain level on a singer holding the mic 2feet away and singing like a sparrow. Why would I set gain on a keyboard that the output level is only at 25%. Rule 1 get the best possible source, takes time and trust. Rule 2 then set gain.

Gain staging starts on the stage. So I spend a third of my setup time on the stage with my tablet in hand, getting my team bedded in. I’ll get them to turn up their level, keyboard, guitar, bass, (they all do now) or get their nose on the microphone, and let them see me altering gain. The team see me working with them not against them and it fills them with confidence they relax. Secretly I’m teaching them how it all fits together. Then I have what I need, I leave them to set their own monitor mix and rehearse. I get on with my bit. They get compliments on the worship, they’re giving me a smile and a thumbs up as they leave.

We don’t have a tech team. The sound engineer is listed on the worship team. Ok bottom of the list but somebody has to be. 😂

[timmarciniak]

Very good explanation about how this works. MOST people at churches behind the board have no idea about this and need to watch this!

[DannyWilfred]

Very well articulated. God bless you. Love from India!

[Gauseltown]

At last a video where the subject is well explained. Seems like you have watched the "Where did 0dB go?" Video by Robert Scovill, which I can highly recommend. Thank you.

[liseeistrupschrder]

Thank’s for this understandable video. I appreciate it so much.

[erik-fromsoundplanning]

This is a great video and as someone that teaches this to churches, I am impressed. I wish you could add more graphics and hands on stuff instead of just a talking head, but hopefully, the folks that watched this got the methods. Well done!

[sth]

You did an excellent job explaining. This is exactly what we needed for our team. Your thorough explanation is what makes you the best. The knucklehead who commented on you saying too much should just fast forward the video. Lol

[AlanHamiltonAudio]

While it's true that using the subgroups (or DCAs) this way to keep proper gain structure at the inputs, and channel faders riding 'around' unity, works... And for an installed system with volunteers that maybe shouldn't be messing with things at a system level is not a bad approach up front...
But...
Technically, if a properly gained channel cannot have it's channel fader getting anywhere near unity without being WAY too loud, and everything on the console seems normal (no excess makeup gain on compressors, no double-assignments, no DCAs accidentally dimed, master level at 'normal'...)... Then that is pretty much a case where a system tech needs to evaluate system gain after the console. Of course, always starting with looking at things within the console to make sure everything is as it's supposed to be. Especially since we're talking a house system where all the gear stays the same versus a provided rig (rax and stax) where an act might be bringing in their own console on a revolving menu of of amps and speakers for each show.

So for an installed rig, if the staff isn't all that technically savvy, there's nothing really wrong with just adjusting at the main fader as a quick fix versus adding subgroups or DCAs into the equation that weren't already there.

In fact, there are some good reason why that might even be a better approach. Let's say there's a stream mix on a matrix off the main L-R bus. Assuming it's tapped pre fader (as it likely should be for a stream from the mains) then turning the main down will not at all change the signal going to the stream.
Adding subgroups between the channels and the main out will be choking things back before the main bus and so the stream matrix will get a weaker signal.

But ultimately, if we're talking major amounts of pulling things back (whether channels, subgroups, DCAs, or mains) to get a tolerable level in an installed PA, than that's really a good time to get a tech onsite to evaluate the system gain.

If it's just a case of one channel being really loud and everything else is OK at 'around' unity... then that is odd. The faders of course need to be where they need to be for a solid mix, but for one thing to be that far off unity when everything else is OK kind of points to some type of problem with the channel (double bus assignment, makeup gain cranked on a compressor... etc...). Or something really loud onstage. And in that case, it probably doesn't even need to be in the PA ;)

[whmjmlp]

Great explanation of the proper operation of a mixer. Console operates best with faders at unity. This has been my contention all along, as one can immediately hear when the console is not getting (or getting too much of) what it needs.

[donzpressplay]

One thing I’ll add that I’ve even seen industry people who do this everyday miss, is don’t forget your pads. Some preamps are so sensitive that you can have the gain all the way down and drums mics will still peak them out. Don’t forget to take advantage of your pad in that scenario.

[IsaacLizzie]

I've been doing live sound for 20 years and I really enjoyed watching your video looking forward to being able to use you to help train my team at church

[benseghers]

Thats oke for most sources but not for an individual channel like the HiHat. Like your clearity of speach👍

[toddclarke]

Channel strip eq is a gain adjustment. The further up the faded is pushed, the brighter and more mids we get, so never eq at a lower fader volume, and expect it to be the same when you push the fader up louder.

[BryantCreative]

Dude, your voiceover sounds incredible. Kinda random but I had to say it

[christianmartinez]

This sounds a lot like Robert Scoville's gain structure method that he's been teaching forever. I like the approach of this method, my only issue is when you start to apply group processing you are likely to be clipping on the input side of the group therefore clipping your processors in the chain. My approach is to use VCA's as "trims" into these groups in order to maintain my levels at optimum throughout the console level architecture. Line level on the input chain, line level at the groups, line level at the master, line level at the matrix. By following this I am confident that any processing I apply at any point in the console I know will be at an optimal operating level. Cheers.

[HellScythek]

I agree on the Input gain part, Set at -15 or -18 dbFS (Can lean to -12 db on Digital instruments and sound sources since they are compressed by nature of their output amplifiers).
But the fader part, really goes against the "avoid mixing at Unity philosophy".
Faders are meant to be used along all their scale, even if their resolution is better near Unity. The artistic use of it needs it to go from -infinity to overhead.
Human sound perception is diferent when there is a calm, melodic, contemplative interpretation of the song (Where transients are small and not many instruments on stage) than the perception of a full Rock energetic piece is being played. Where many sound sources have to be compressed and fight for leading place, and consecuently, any fraction of a db has an impact on the relative position of the stage.
It is a deep topic worth conversation. May the years of experience and experimentation lead us to better serve the Lord.
Edit: for typos and clearer interpretation, since english is not my first language.

[reubbn]

Hahaha this is the problem im facing now.. Thanks for the good explanation

[BrotherIon]

Thank you for the video. In the future could you work in some visual application? Some of us are visual learners and it would help seat your words in our memory banks.