What this means is you can live-track your show onto a laptop on stage or even in your rehearsal facility, and offer up instant live downloads of concerts and jam sessions to your fans almost immediately after your performance concludes. This is super-handy on a unit like the Yamaha MG12XU, since it also comes with a copy of Cubase for ultra-easy recording. One of the features we like most about modern compact mixers is the ability to run our master stereo mix straight out to a DAW via USB. Yamaha MG12XU dialing in effects CAPTURE INSTANT LIVE RECORDINGS FOR FANS When in doubt, less is more in a live setting. So, if your performance space already features a nice, natural reverberation, dial back the settings on your hardware and mixer to accommodate. Some rooms are wonderful acoustic marvels others feature so many hard angles and weird surfaces that itРІР‚в„ўs nearly impossible to add artificial reverb without completely confusing your stage sound. Remember, the room youРІР‚в„ўre playing will likely add its own characteristics to the natural reverb of your performance. Whereas for faster numbers, weРІР‚в„ўd recommend more hall-style reverb settings.

For ballads and slower tracks, you can get away with longer settings and different types of reverbs, like plate.

Separating the two will be key here so theyРІР‚в„ўre not overlapping and causing audio confusion. And if possible, utilize pre-delay to keep your original sound and the reverb from gobbling each other up in the mix. HereРІР‚в„ўs what we recommend: for more upbeat numbers, go shorter: 800 milliseconds is a good starting point. Live, however, too much reverb and/or delay and your mix becomes a swampland of refracted sound and muddled textures. ADDING THE RIGHT REVERBР”Р„gain, reverb is an awesome tool that can add depth and texture not only to vocals, but instruments on your recordings. Adding compression via on-board fx settings or an outboard unit might work in small doses to РІР‚Сљeven things outРІР‚Сњ in less-than-ideal settings, or make back-up vocals hit the board at the same level without spikes, but you may be surprised at how much more immediate your lead sound becomes without the effect. You might find your live sound becomes more dynamic with the compression off entirely, relying more on your vocalists to provide dynamics through a mix of vocal technique and mic positioning during quiet and loud passages. On-stage, if youРІР‚в„ўve been using a lot of compression on vocal channels, try backing off or turning the compressors off completely in the mix, and A/BРІР‚в„ўing that against what youРІР‚в„ўve been used to. But keep in mind what theyРІР‚в„ўre doing is affecting the dynamics of your music. On record, compressors and limiters can make vocals and instruments really feel cohesive and gel together.

WeРІР‚в„ўre going to start sounding like a broken record, but treat your stage mix differently than your studio mix. Also, many musicians who are still adjusting to in-ears after relying on wedge monitors over the years have noted that a lot of stereo information happening at once can be a major distraction РІР‚вЂњ as information bouncing between the left and right ears causes their brain to focus on this, rather than the levels in the mix and other instruments theyРІР‚в„ўre supposed to be taking cues from during a song. If one earbud pops out mid-song, you donРІР‚в„ўt want critical audio information not reaching a band member on-stage because a certain instrument was hard-panned to that ear, and now they canРІР‚в„ўt hear it. Again, this isnРІР‚в„ўt a clinical listening environment, and the worldРІР‚в„ўs not perfect. Mixing too much stereo information when sending a monitor mix to in-ears can also be an odd aural experience for musicians on stage.

Mixing live sound on your phone