Using a second console for live stream mixes (part 3)

In my previous article I outlined two options for sending a mix to a live stream. You can send a copy of your main mix, which isn’t so great, or use the channel aux sends to create an independent mix. That’s probably the sweet spot for most churches because it’s fairly easy to set up, doesn’t cost anything, and doesn’t require additional people to run each week.

The third option is to set up a completely separate console for the live stream. If you can get copies of all your audio sources (stage mics) into this second mixer, then you can customize a mix with its own set of EQs, compressors, effects, and mix balance. This is the ultimate for providing a quality mix in the sanctuary as well as a live feed. It’s also more expensive in that you not only have to get another console (not so bad), you need additional trained people to run it every week (potentially bad). Here’s the plan:

You need to get copies of all your stage sources. At my church we have Dante-enabled mic preamplifier units backstage that connect via a single CAT5e ethernet cable to the Yamaha TF5 console in the sanctuary booth. All of these devices are on the Dante network, which is an ethernet-based digital audio networking protocol. Audio from all connected devices can be shared and transmitted from anywhere to anywhere simply by selecting points on a grid in the software. So, connect the second console to the Dante network (you can use standard network switches used for computer networks; just plug all your devices into this), then launch Dante Controller on a computer connected to the network and select your mic preamplifier outputs, routing them to the channel inputs on the console. (The preamp outputs can go to multiple destinations, so it’s not like you have to choose between the two consoles.)

The audio signals coming into the second console are untouched and raw, meaning no EQ, no compression, no nothin’. This is great, because you can craft your streaming mix from scratch without having any impact on the sanctuary mix (and vice versa). Here’s the overall configuration:

Take your main mix from the stream console and feed it to the audio interface on your live feed computer, balancing the main mix fader and interface level control to set the final level in OBS (or whatever streaming software you’re using). Also check the actual live feed from time to time, meaning go listen to your phone live from Facebook (or at least a recording from the previous service).

To get best results and be worth the trouble, you need to set this second console up in an isolated booth or a different room. You can mix in the sanctuary, but it’s difficult to isolate the live sounds from drums and so forth, compromising the result. In my case, I decided against all of this because I didn’t have another room and didn’t have enough trained individuals to fill in the additional job slot each week. But if you can pull it off, it’s the ideal option.