How use different gain settings for each profile?

Richard Cooke

New Member
I'm helping a church stream their services and events. They have a Sony PTZ camera and a QU-24 sound board.

I setup a Linux machine to host the video capture card, and it connects to the QU via USB.

The QU streams up to 32 channels to the PC. We only use two to send over "Mix 9 and 10" from the board.

The audio level coming in is different depending upon which QU profile they are using. One is much softer.

For the sound to be usable in OBS (and Zoom) I have to boost the the lower one by 22 db in OBS. Sometimes I have to boost the other by 10 db.

I created TWO PROFILES in OBS after reading that profiles save the audio setup and settings. I made one profile zero boost, and the other 22 db boost.

But today I noticed when I switch the profiles back and forth, the boost does not change. It stays set to the last value I entered!

So I am wondering if I misunderstood what settings are saved in the Profiles or is there a better way?

Thanks in Advance!


Active Member
It's probably better to fix it in the console and re-save it over there. Keep all of the related processing in one place. Since you need 22dB in one case (Wow!), it probably means that whoever set that one up doesn't understand gain structure. (or doesn't care about broadcast) So the video guy may need to educate the sound guy. :-)

For what it's worth, I've been a sound guy for longer than broadcast, and the broadcast rig that I built for my church has only a Noise Gate in OBS, to kill the analog ground loop noise because the multitrack USB interface is claimed by the sound guy for his recording and virtual sound checks. (One of these days, I'll put an isolator in there. I have one somewhere else, that a replacement project promises to make available, but the replacement isn't done yet.)

I have a post-fade stereo bus in the FOH console that I control, feeding a stereo matrix that also pulls in the room mics. (done that way so that the entryway and hearing assistance can have the same broadcast mix, minus the room mics) The bus has a vintage compressor emulation (LA-2A) on its master, and the matrix has the channel compressor set to be a limiter. Several stages of intentional dynamic range management, so that the 16-bit USB analog line input that feeds the broadcast gets exactly full-scale regardless, and it doesn't sound "squashed".

(Behringer X32)