Yep, front fills need to be top of mind for me when adjusting EQ on a Lav during a corporate event.  I start changing the channel when I might need to just correct the fill matrix.  Sometimes I remember to start there, sometimes I change everything by mistake.

Making corporate audio better one video at a time. Great video, excellent advice.

If you have a presenter with a PowerPoint presentation they are going to look at the screen so put the microphone on the side that they will be turning in their head to see the screen. I managed to get myself all turned around and occasionally get it on the wrong side. I've been waiting for a couple videos like this.

Great video.  This is basically my exact workflow too but took lots of trial and error to get there; wish I saw this video 10 years ago.  Would be cool to see one on how you prefer to organize your Dante I/O patching for Rios/RF/avios too.

Super helpful! I'm working on a new mixer tomorrow for the flagship room of a pretty large conference, feeling a little nervous, found this informational super useful

For lavs I use Shure 185's or 184's in difficult environments - I have a different approach when it comes to compression - I kick the compressor in at -20dbfs harder, say 6 to 1 this helps balance the mics for me - then I use gain if someone is quieter or their mic has dropped OR I compensate with the Dugan - Tip: I usually tell CEO's CFO's where to sit which sometimes provokes a reaction - but I say "its better for our cameras if the moderator sits there" - then they do as I say - I also find mic'ing on the lapel faster (and turn the capsule towards the mouth) but you really have to make sure the presenters sit where you tell them! Mic'ing up is vital IMO

One trick I use is to identify who is on which mic by the clothes they are wearing. "blue shirt on 2, white blouse on 3," etc. Then write it on the scribble strip. They don't always sit where you say they should, and I can't always memorize all those names that quickly.

Thank you for this great video. Really helped me a lot.

Thanks Michael, super useful. Got a couple corporate gigs coming over the next few days so I'll be better equipped to approach the shows.

Thanks for the great explanation. Do you have a live example where you've used these mixing techniques?

As always, very useful stuff. Thanks, Mike.

heyho, im working in theaters since 14 years. I can say that we work with lavs 99% of the productions we do. The Trick is to make very wide and deep cuts on the problematic frequency areas . The surgical the EQ gets the more issues you will have with moving Actors on stage.
I can get Lavs with this technique REALY feedbacksafe befor having an issue. there is alwys a balance of having them realy thin sounding and enoug body, but thats the only line i have to work with. Also i realy can recommend dynamic eqs on top of it , just to smooth it out .

thank you for sharing 🙂

Great tips for the subgroup. Thanks!

outstanding!

Thank you. 👌🏾

Excellent video!

Thank you for this!

Great video, thanks for the advice!
One important addition: Yamaha automatically adds a channel to the Automix Pre-Fader. So if somebody is going backstage and you muted this persons channel and the person is talking into the mic this could mess with the level of the other speakers in the automix. That's why I'm always inserting the automix Post-Fader. I'm actually not that sure whether this only happens when you mute the channel by turning down the fader and not if you use the mute button... Maybe if you mute by pushing the mute button this will also affect the Pre-Fader insert point..

Mac tip, zoom! System preferences, accessibility, zoom, use scroll gesture with modifier. I personally like command+option hold those two keys down and with any mouse with a scroll wheel even the trackpad it will zoom in the screen. There's also in an advanced options box that lets you tweak how things behave when you hit the edge of the screen. You can also usually by default use command+option+plus or minus.