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Mixing Live with RML Labs’ Software Audio Console, Part 2

May 18, 2012 10:06 AM, WIth Bennett Liles

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Editor’s note: For your convenience, this transcription of the podcast includes timestamps. If you are listening to the podcast and reading its accompanying transcription, you can use the timestamps to jump to any part of the audio podcast by simply dragging the slider on the podcast to the time indicated in the transcription.

Mixing on a computer isn’t that exotic, but if you do it live, things can get more interesting. At the Goodlettsville Church of the Nazarene, the price of big time digital mixers was out of reach, so Keith Sealy fires up the Software Audio Console and mixes the services live. He’s here to tell us how it’s done, right now on the SVC Podcast.

SVC: Keith Sealy, thanks for being back with us on the SVC Podcast from the Goodlettsville Church of the Nazarene up there in Tennessee, up near Nashville. And in part one we were talking about mixing with Software Audio Console and doing this live. A lot of people are used to this idea in post, but the thought of doing it live might cause a few double takes. So run through the signal flow on your setup. How does the original audio get to the mixed output?

Keith Sealy: With the Software Audio Console, like I said we’re using the Behringer mic pres, and so it comes into the Behringer mic pres. It comes out of those optically and we’re feeding the MOTU 2408 cards and we have two of those to get us to 48 in and out. It’s all done optically after it leaves the Behringer mic pres and then from there it just—from there we’ve got some Behringer Ultra-Drive drive rack processors that hit our main speakers but it’s really simple in and out. Everything’s done optically for us. [Timestamp: 1:42]

And I saw some YouTube videos that you told us about last time and some of those are really interesting. Some show people using the Behringer BCF 2000 as the control surface. Is that what you’re doing?

That’s what we’re doing. We have two of them. We chose to do two and the way our setup is we have two flat screen monitors, we actually had three but one of them sits right in front of the BCF2000 and so showing on the screen are eight of the individual channels that correspond with the fader pack below it and then we have another monitor that does the same thing so we have access to 16 channels with faders at any one time and the we have another screen that’s an HD screen and it shows our other 40 input so if we click on them real quickly we can get to those if we need to. But we’re using 16 faders at this given time. And its, I was actually a little concerned about that when we decided to do that but after using it and the way we have our system set up, like I said, mixing basically off the DCA’s it has not been a problem what so ever. [Timestamp: 2:44]

And what’s the size on those monitors that you’re using at the church?

I believe those two are 15 in. monitors. They’re either 15 or 17—I believe they’re 15 in. They’re just normal little square monitors, SD monitors. [Timestamp: 2:55]

Yeah, those will fit just about anywhere.


I was thinking it would have to be a huge one. On the YouTube videos, it was a considerably bigger monitor that was being used.

Yeah and like I said our third monitor is probably, it’s probably like a 21 in. or so because we wanted it wider so we could show more channels at any given time but for those 16 right in the middle we just need eight on a monitor per page and it’s a good size, it’s easy to see you don’t have to really get into it to really see what you’re looking at. [Timestamp: 3:21]

On your setup in the church, where exactly are you and how far are you from the performing area?

The way the Software Audio Console works is you have a main control unit or a main computer and for that that’s where all of our mic pre’s are and the interfaces and that actually sits on the stage back stage. Our stage is set up so we have a drape all the way around it and it’s set up back stage like in monitor world would be and then FOH is probably about 45 ft. out dead center of the stage and so we, through TCP/IP we use, we connect to the main computer and so basically what we’re using out front is a remote to the main computer on the stage. [Timestamp: 4:00]

OK and you’ve got a lot of live music going on there. We were talking about that before. How do you handle stage monitoring for all that?

This was another big selling point for us. It will do a FOH mix set up and then you also have 24, I believe it’s 24, additional mixers that you can use for a monitor world which gives you all those inputs right in front of whoever’s mixing it. Like I said its 25—24 different mixers I believe. But for us, we’re only using about four of those other mixers because our band uses the Aviom system and really the only reason we’re on the Aviom is because we—it wasn’t long ago we bought those and it’s a great system but you could use the SAC for your band guys just hand them a laptop or something in a way to get audio through some type of headphone system and they could pull up every input that we’re seeing out front, EQ it, do whatever they want with it without affecting FOH monitors. So that’s the way we’re set up though is through the Aviom’s. [Timestamp: 5:01]

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