Jake Russell Audio

I don’t set up mute groups on the Behringer Wing. Haven’t in a long time.

I use three DCAs instead. Drums, band, and vocals. Those are my input channel DCAs, and I turn on DCA mute groups so that when I mute a DCA it mutes everything in it. Same result, less setup.

There are probably more “proper” ways to do it. I just don’t care. This works every Sunday and I never have to think about it.

The other thing I do is group my effects into DCAs. So my drum reverb and gated reverb are on one DCA. My aux verb and shimmer are on another. Vocal verb gets its own. Delay gets its own.

Quick tip if you do this: pull the bus level down a bit and let the DCA fader be your control. That way you’ve got more range on the fader for the small moves during a set. Makes a big difference when you’re trying to ride effects in and out.

Three input DCAs. Four effects DCAs. That’s my whole workflow. Try it this Sunday and see how much less jumping around you do.

Comment DCA and I’ll send you my full Wing DCA breakdown.

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Im trying to have a moment here

Most people hear our livestream and assume there’s more going on than there actually is. There’s not.

It’s just a good playing and tone, a good starting point on the Behringer Wing with some intentional processing on the livestream output.

I run our front of house and our livestream off the same console. One Wing. Two mixes. No second console, no DAW, no complicated routing. I just use the Wing’s main outputs differently and run a few inserts on the livestream to get it broadcast-ready.

That guitar solo you’re hearing is from this past Sunday. Drums, bass, keys, and one electric guitar through the Wing. That’s it.
I put together a full video walking through exactly how I set this up.

Comment “stream” and I’ll send it to you.

Vocal reverb and delay can either make your worship mix feel alive or turn it into a washy mess. There’s a fine line.

Most people pick a reverb, turn it up until they can hear it, and leave it alone. That works until it doesn’t.

In this video I break down exactly how I set up vocal reverb and delay on the Behringer Wing. Rich plate reverb, tape delay, vintage plate, and a few twists that I think you’re going to want to try.

This isn’t a generic “here’s what reverb does” tutorial. This is my actual setup that I use every week at my church on real vocalists during real services. I’ll show you why I use each effect, when I reach for each one, and how they all work together to give vocals space and depth without taking over the mix.

Comment “Verb” and I’ll send it to you.

Mix so the people can sing.

That’s the job. Period

If people aren’t singing, something might be off.

When I build a mix, I’m not thinking about how impressive it sounds. I’m thinking about whether the person three rows back feels comfortable opening their singing. That’s the standard.

A balanced mix at the right level for your room is what we should be pushing for.

Your church has a comfort zone. Learn it. Don’t try to force something else.

I recently dropped a full video walking through how I build a balanced mix on the Behringer Wing from start to finish.
Comment “Mix” and I’ll send it to you.

If it sounds good on an iPhone at 85 dB, it sounded great in the room.

This is a straight iPhone recording from the booth. No processing, no editing, just what the phone picked up. That’s how I like to test a mix. If it translates to a phone mic, you know the room is hearing something even better.

A lot of people asked me on this day how I got this snare sound. Buuuuut like we all should know, there are a bunch of different ways to mix a snare, not just one way.

I just put out a full video walking through how I mix a snare drum on the Behringer Wing with Four different approaches, same snare, same mic.

Comment “Snare” and I’ll send it to you.