You’re revolutionizing live audio in ways that seemed impossible just a few years ago. Brad Madix joins Dave Hamilton to break down how you can now mix a 186-channel concert in ATMOS from thousands of miles away with only 125ms latency, using nothing more than the public internet and cloud services. Whether you’re handling a seven-minute festival changeover with 256 live channels or capturing audience ambiance with DPA 5100 surround mics, the technology exists to stream professional-quality audio anywhere. The game-changer? REMI (Remote Integration Model) eliminates the need for massive OB trucks by letting you send a simple box that plugs into the internet and streams everything to your remote mixing suite.

Your mixing philosophy matters as much as your technical setup, thought, so remember to Always Be Performing by keeping your eyes up and watching the actual show instead of staying glued to your console. When someone complains “it’s too loud,” they usually mean the vocals aren’t cutting through the mix—a psychoacoustic principle that separates amateur from professional engineers. Document everything your band does, mix the first song in your mind before showtime, and understand that live music’s ephemeral nature means some magical moments will never be captured again. As AI tools like Suno emerge for songwriting, they’ll likely serve as assistants rather than replacements, but the human touch remains essential for reading the room and adapting to those unexpected MIDI malfunctions that can threaten to derail even legendary acts like Rush.

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