So they have it in terms of live sound. If you basically know the principles of audio and know how to mix your main mix and monitors and effectively troubleshoot, then I mean, you're pretty much good to go. But I just wanted to add this section, in as many of you will be required to record performances, or bands or speeches or sermons, even Duke them out to CD, baby podcast madness, little thumb drives. This section will cover this very briefly. First up, we think about what are you going to record if you're going to record the master main mix right here and it's pretty simple just to play some kind of a recorder across the main outs and just record the mix right here, right. In most mixes like this, you'll probably have the main outs left and right here.

Can scientists apply applying the ABS the main speaker so you really can't use these guys here. Quite often you have Have another set of outs that mirror these or they're in parallel to these main outs. In this example, we actually have a couple here we have a utility. So I have mine out out here. And we also have a utility outlets and right here, these are probably balanced. In this case, we also have a pair of unbalanced RCA jacks and labeled tape output.

Over a short run of cable that the tape outs would work fine, but if you need a longer run out to your record, then you might want to use another stereo up that has balanced lines to reduce all that hum in appearance. Any way you do it, you'll see those outs to the input of a stereo recorder and in the old days, it used to be cassette and dad's then mini discs and recordable CDs to those even those little media card records nowadays, no matter what you're recording, all you need to do is to set up a record, check your levels, and away you go. But here's actually something that you might want to think about in terms of recording a stereo mix. If you have Mike everything on stage and really relied on the main speakers to be the only way that your audience hears the whole band, then you'll be fine.

But think of it this way, if you're in a small setting where maybe the guitar amp sounds fine from the stage without making it and the guitar, sorry, the piano is heard halfway from the stage, just half acoustically through the year, your main mix, my left and right will be a little thin. Does that make sense? I mean, take a recording from the console with you to concert and you'll hear absolutely everything because everything has to come through the main speakers. Because back in the fourth row, no one can hear the guitar amp right. So the main mix is going to sound absolutely fine. It's in room a smaller venues with a sound that's heard in the audience is half Front of House speakers, and half just kind of off the stage.

That's when your recordings from the main mix here will leave a lot of stuff out. All the stuff that you're hearing without it coming through the main PA system will not get recorded. So the solution is to mic up everything and keep the mainstage level down. So the mix coming out of the left and right these main outs here is a complete mix. And by the way, I still one more place in this mix away you I mean, you could siphon off a main mix. The main inserts here, could take a pair of these insert cables, we saw these guys before, and at a pinch, you could use them as one more set of main outs though Be careful, what you do is plug this in about halfway.

If you feel one click there, then one of these guys would take an output out of that left when you do another one over here. And in a pinch, you could use them as another set of mine outs. Not really the way they were designed, but I've actually used insert cables this way. When you know I'm stuck for an extra output. This trick will work on any insert. For instance, if you just want an extra hour put up an accent to feed on stage monsters and an ear set up just plug them in halfway and then you'll find one or the other ends will pass that signal out.

Don't plug them all the way in or she'll break that circuit and no signal will get passed. I certainly did not say this was the best practice here. Not at all just kind of a way to get some extra routing completed, you know if you're ever really in a in a pinch. So back to I said earlier about capturing everything through the mixer. If you are recording a speech and you only have one mic, then your record that person is speaking of course, for example, if you had a q&a like a question that's a session where people in the audience ask the host a question, then mic that person up have a have a roving wireless microphone that can be had anyone asking questions? It really doesn't matter if the other people in the room can hear that question.

But if the board doesn't hear it, then it won't get recorded. That makes sense. So you really hear me on this point, I think, kind of dots. But in a small setting where the audience doesn't have to rely on the PA system to hear various things, that's when your mix is going to start getting jacked up, right, throw some headphones on and make sure that you're hearing really the real deal. So a great example of this is if maybe drums are really loud in the room, and you don't really need to pump them out. You bring them down here in the mix, it sounds fine life, but the main mix coming out of here will be very light on those drums.

So in terms of making just a rock mix, recording a full maximum, man, left and right out is a great way to make a quick and dirty recording. But if you have a higher end digital mixer like this guy here, you can actually do something cooler, way cooler. And this makes you actually have the ability to record every input here through FireWire. That means that we The rise right piece of software which actually comes with PreSonus desk here, you can create individual recordings of every single channel, and then really have the ultimate in flexibility later on. In this PreSonus mixer, it's actually comes with a piece of software, very cool piece of software where you can connect a single FireWire cable and record all 24 channels into 24 audio files that you can, you know, recreate back in Pro Tools. For example, a lot of modern digital mixers can be IOI input output interface for Pro Tools or other multitrack audio recording programs.

The obvious advantage of this is that you can postpone all of your mixing decisions until you're sitting down behind, you know, a full recording system and you can tweak to your heart's content in with a cup of coffee. This is obviously the most flexible way of recording. And, you know if you don't have a mixer that will do all of that, then you can always Get you know multi channel IO boxes and send the direct outs of your email analog board and then record them into a multitrack recorder like a Pro Tools. So now you know, record all those ones. Now another great benefit of this routing is that once you have all the individual recordings of each channel, you could then replace some of those tracks and overdub parts, no punching and all the other goodies that are available when you do multitrack recording. Now, if you're serious about capturing a lot performance with the most fidelity and flexibility than you know, this is, by far the better way of recording than just recording the entire mix on the other the left and right head into just a kind of a stereo bar because once you've recorded that you're pretty much stuck with the result trying to change that is like trying to unmix a cake if you know what I mean.

So no matter how you end up with the recording, either Just recording the main outs right here, or recording each channel into a multitrack session then mixing that down the other way, you'll have your performance down to just a single stereo file. And that's the only format where it really can be shared easy easily. If you're in the business of turning recordings around really quickly, like after church service or similar, then just recording down off the main mix is really going to be the only way for you for a CD that you want to sell later on, then maybe you want to record down to multitrack files and then mix that down. That'd be the better way. Typically, the final file will be a common audio format like a stereo WAV file or air FFR at least 16 bits and 44.1 k. Now, once that's done, there's a few things you might want to do.

You might want to put it into mp3 file or AC AC file, upload and now iTunes, maybe send a bunch of those files out to musicians so that I can Can I hear her hustle, you can also burn to a CD on a mass duplicated like these guys even copy them up to removable media, like these duplicators. So that's about it, you now know, everything you need to know, kind of up here. But the best audio engineers I know are the ones who put it into practice a lot. And there's just basically no substitute for experience in this field. So I would take as many mixing gigs as I could, so that these mixing and troubleshooting principles really become kind of second nature. So go find local venues and scour local or social media sites to find bands who need an oil engineer.

Now, by the way, churches are always looking for solid sound people and will they'll quite often pay you a steady income impact in store in fact, I had a part time job at a huge church in Southern California mixing five services a week with a 10 piece band, horn section, hairpiece choir to about 2500 people Not for years. And apart from it being a really great learning experience. I frankly I had a lot of sermons. And it really changed my life. I went on to Africa on a missions trip. And all this came together.

To me meeting my daughter, like adopted from Ethiopia. So you really never know where your skills as an audio engineer will take you. I've worked with many famous artists, artists over the years, but someone most memorable moments was spent mixing in the church, because a lot of my customers are people working in houses of worship. I've actually made a website specifically for church audio, where you can you can see recommendations of systems and equipment specifically in this area. You can see the details below. So with that being said, hope I didn't get too preachy right there.

I just learned that life is so much better when you're making music for a purpose. That's been in my life anyway. So while we cut through all this stuff, a lot of technical details, a lot of troubleshooting stuff. But I now deputize you to go out and make some really great SAP. There are too many knuckleheads behind mixing boards, we don't know which way is up, you are now not one of those people. So go and make me proud.

Keep in mind that your bonus materials are on this last disk. And just place this into your pc or mac and open up as a data disc not as a DVD. This is a mixed media disc that can be opened as a standard DVD that you can play on your TV. And also it's a data disc where you'll find all the PDFs and all that added content that all the goodies are there. So let me thank you for your time. My name is Dave balls and Ciao for now.