I like to have all the faders at this kind of position, which is on the zero mark. The reason I like this because on the zero, you've got the most amount of travel faders are meant to work around this zero mark. They're logarithmic. So the difference between this and there is quite a lot. Whereas here, you've got a lot more playing a lot more control. If you try and mix the show sort of down here, all the faders down here, you haven't really got too much control because once you push that up, it comes up, there's a large leaf in volume.

Conversely, if you're right at the top here, and you're trying to mix up here, then you've got nowhere to go. Once you've gone to the top of the fader, what you're gonna do dig a bit extra out, there's nothing you can do apart from trying to pull everything else back. So I tend to mix around the zero mark. So I tend to like to use this as my, my points of work. Sometimes I'll adjust the gain up here just so I've got faders at the right kind of level, I tend to mix on the vcas a lot, and I'll spend a lot of time just nudging the band down a fraction, nudging the vocal up a fraction, and making slight changes all the way through. I like having the faders fairly flat in a line like this.

And quite often, I'll know that on a, say, with a guitar, I'll have a guitar solo coming up and a guitar solo will just be pushing out to plus five, then bring it back down again to zero. Sometimes when it's I know there's going to be a bit where to quiet a song, I could just pull the guitar down five, and then push it back to the next song. And that way, when I look across the desk, I know where things are. Also, it means that if you accidentally not your song and you're wondering where the bass drum is you thinking, well it shouldn't be down there. It should be on zero. You know, sometimes you just catch it with a with a cable or someone walks past summit.

Comedians think it's funny to just pull the bass drum pass when they're in the audience. something can happen like that. So I can look down the fader. And I'll do a lot of mixing just in the VCA section here. If I haven't got vcas, then I'll do it using the subgroups. And I'll, I'll adjust the audio and the subgroup in much the same way.

I'll have subgroups for the drums, the bass, the guitar, the vocals, just the most important things. So I can just turn all the vocals up and keep the band down a fraction and mixed up here. Rather than trying to do it all you know, it's very difficult to pull down even three or four faders at the same time. So trying to pull down 10 faders and try and do all the mix. It's just really difficult, it's much easier just do it on this vcas. As you see I've grouped several channels down to one vi VCA.

So that I can do that pulling the whole band up, whole band down, vocal up, vocal down, and I've even got the effects off of that as well. So it gives me a lot of flexibility and different ways to mix so I can keep in control. And I can stand here, kind of watch what's going on over there. Mix using the VCs or if I don't have VCs with soakers