X32 Discussion

[Tim McCulloch]

Re: 2 x x32's

I'm glad we're best buddies now.

You guys are more alike than different.

Now go enjoy your mixers or I'll take away your beer/ice cream allowances... :lol:

Tim "crusty old guy" Mc

 

[Brett Tippet]

Re: 2 x x32's

Don't you dare man ...

You guys are more alike than different.

Now go enjoy your mixers or I'll take away your beer/ice cream allowances... :lol:

Tim "crusty old guy" Mc

 

[Per Søvik]

Re: Recording effects into a DAW

Is there some idiots guide for this particular process?

I prefer not to try to guide idiots, they tend to screw up and blame you for giving the wrong instructions :razz:

However, assuming you are not an idiot, I can think of two ways, one is posting a scene file with the set-up. The other way is to explain myself in a way that is actually comprehensible for other people.

Now, assuming you have routed the out 1-8 to card output 25-32
assigned Bus 1-8 to analog 1-8,
and assigned (sent via the bus sends) the eight channels you want to process to bus 1-8, we should be nearly there.
(since you now cant record from 25-32, it would make sense to use these channels for inputs in this instance)

If you are using a send-return effect, you have to send the return of the particular effect to the mix bus that you are using for the original signal if you want a blend (remembering that any signal sent to the effect will be returned, so not a good idea if you use same effect for more than one channel (then it would be better to record dry and record the effect return on a separate track to be blended at mixdown)

If you are using insert effects, you can insert the effect either on the input channel or on the bus channel, in either case, you should now have a processed signal for recording.

 

[Per Søvik]

Re: 2 x x32's

So far nothing much has been done to let two X32 work together except that they can communicate signals via AES50. Probably there will be developments in this area in the future, so now is probably a good time to make requests.

 

[Paul Mirtschin]

Gain

Another little request for the Behringer guys... can we get wider gain adjustment? One of the two gigs I ran the X32 on over the weekend was an international rapper + DJs... now DJs being the well-trained sound-engineers they are, the signal coming from the desk was damn hot! And I didn't pack my pads.

Having a selectable pad, or even just a greater range in gain, would be very nice.

(And the pads are going on the next gig with DJs)

 

[Mike Gibson]

XiControl IPAD - Audio at iPAD Headphones

I'm not sure if this is an odd request or not... our desk is way upstairs and the congregation downstairs hear something very different to the sound guy. Now the iPad app is so useable and stable I spend most of the time downstairs with the congregation and, I find myself wanting a quick solo of one channel or another whilst away from the desk ( I do not need high quality at this point). I wondered if it would be possible to have the audio stream sent to the iPad so that when I select a specific channel on XiControl I could hear it in the iPAD headphones?

What would stop this being possible?

Mike

 

[Mike Gibson]

S16 back on the Thomann Website due 7/12/12

Heres hoping

 

[Timo Ulkuniemi]

Re: XiControl IPAD - Audio at iPAD Headphones

I'm not sure if this is an odd request or not... our desk is way upstairs and the congregation downstairs hear something very different to the sound guy. Now the iPad app is so useable and stable I spend most of the time downstairs with the congregation ........

Mike

Hello

how many hours you can work with iPad , when initially fully charged battery?

 

[Liam Donaldson]

Re: Recording effects into a DAW

I prefer not to try to guide idiots, they tend to screw up and blame you for giving the wrong instructions :razz:

However, assuming you are not an idiot, I can think of two ways, one is posting a scene file with the set-up. The other way is to explain myself in a way that is actually comprehensible for other people.

Now, assuming you have routed the out 1-8 to card output 25-32
assigned Bus 1-8 to analog 1-8,
and assigned (sent via the bus sends) the eight channels you want to process to bus 1-8, we should be nearly there.
(since you now cant record from 25-32, it would make sense to use these channels for inputs in this instance)

If you are using a send-return effect, you have to send the return of the particular effect to the mix bus that you are using for the original signal if you want a blend (remembering that any signal sent to the effect will be returned, so not a good idea if you use same effect for more than one channel (then it would be better to record dry and record the effect return on a separate track to be blended at mixdown)

If you are using insert effects, you can insert the effect either on the input channel or on the bus channel, in either case, you should now have a processed signal for recording.

Thanks for the details. I'll try these steps later.

 

[Liam Donaldson]

Re: Recording effects into a DAW

I prefer not to try to guide idiots, they tend to screw up and blame you for giving the wrong instructions :razz:

However, assuming you are not an idiot, I can think of two ways, one is posting a scene file with the set-up. The other way is to explain myself in a way that is actually comprehensible for other people.

Now, assuming you have routed the out 1-8 to card output 25-32
assigned Bus 1-8 to analog 1-8,
and assigned (sent via the bus sends) the eight channels you want to process to bus 1-8, we should be nearly there.
(since you now cant record from 25-32, it would make sense to use these channels for inputs in this instance)

If you are using a send-return effect, you have to send the return of the particular effect to the mix bus that you are using for the original signal if you want a blend (remembering that any signal sent to the effect will be returned, so not a good idea if you use same effect for more than one channel (then it would be better to record dry and record the effect return on a separate track to be blended at mixdown)

If you are using insert effects, you can insert the effect either on the input channel or on the bus channel, in either case, you should now have a processed signal for recording.

I was hoping you could post such a scene so that I can see what exactly is involved. Would that be possible?

Thanks.

 

[Shy Clyman]

Re: XiControl IPAD - Audio at iPAD Headphones

Many Many hrs. I turn the screen brightness down, and I set the screen to never lock and I can go a few gigs without needing recharge

Hello

how many hours you can work with iPad , when initially fully charged battery?

 

[Mick Berg]

Levels and First Gig

.............................. this isnt near as high as it ran this was vocal only .just talking to crowd

I don't understand this approach. "This isn't near as high as it ran"? It doesn't run, you run it. If the level is too high, run it lower. If you need more volume, turn up the amps or drive rack if you have one. That's what mixing is. What am I missing?

I did my first show with the X32 last week. First night, a collection of disorganised (but very talented) jazz student combos who threw everything at us. Next night, three large jazz ensembles who did sound checks that I was able to save! Fantastic!

The console worked perfectly, I got comments on the good sound, and actually thought I heard some improvement in clarity over the Venice that I used to use.

And I had no problems with gain structure, I "ran" the console between -18 and -12. I had to knock down the monitor amps by 6db. but the PA amps stayed the same.

I did not have a problem with my one mute group, but was shocked to learn from this forum about the behaviour. As I see it the mute group button should toggle the mutes that are part of the mute group. If any mute has been activated independently, it should stay muted, just like an analog console with mechanical switches.

Mick Berg.

 

[Mick Berg]

Re: Gain

Another little request for the Behringer guys... can we get wider gain adjustment? One of the two gigs I ran the X32 on over the weekend was an international rapper + DJs... now DJs being the well-trained sound-engineers they are, the signal coming from the desk was damn hot! And I didn't pack my pads.

Having a selectable pad, or even just a greater range in gain, would be very nice.

(And the pads are going on the next gig with DJs)

I usually run DJ outputs through a DI box, even if their mixer has XLR outs. This knocks the signal down to mic level (ie drops it by 40db or so) so that even when they slam their outputs, you are still getting something sensible, and within the range of most console's pre-amps gain range. It makes it impossible to overload the console's inputs even when there's smoke coming out of their headphones. To be honest I wouldn't change the console design just to accomodate these "well-trained sound engineers", when there is a simple external fix. But that's just my opinion.

Mick Berg.

 

[Spenser Hamilton]

Re: Levels and First Gig

I don't understand this approach. "This isn't near as high as it ran"? It doesn't run, you run it. If the level is too high, run it lower. If you need more volume, turn up the amps or drive rack if you have one. That's what mixing is. What am I missing?

+1 Some of our more entry level operators are going to have take a good look at what they consider adequate rig for the gig, the X32 (and all other digital consoles that I know of) aren't going to be as forgiving of being pushed to their limits compared to a decent analog console. I've got enough experience on this console now that I think I can safely say that I have a fair idea of it's limits, you need the maintain some headroom on your L/R outs and the only way you can do that is with a properly configured driverack controlling a rig that is big enough for the job at hand.

On another note, provided audio for a well known Canadian rock band last night, both the band and their opener travelled with their own techs, there was also one local band that I was tasked with mixing. Both techs seemed happy with the X32, one guy was an Avid user and the other a Presonus user, spent a few minutes explaining some of the variations from what they would be used to, and both seemed to be able to dial up a good mix without much trouble. It was nice that everybody could get the channels set the way they wanted and then save a snapshot, sure beats trying to mix on the headliners left over channels on an analog board.

Excuse my lack of photo taking skills :lol:


Pre-show from FOH



Two shots from showtime, the amount of processing power we had in such a small footprint was useful in a small venue like this.

The remote software is great, I like to keep it setup beside the board and then use my iPad on a wireless connection. The computer beside the board came in handy at showtime, at one point I started to hear 1.2K sounding very hot in the vocal mics, I was able to navigate to the effects section and make a few tweaks to the graphs without disturbing the BE. The iPad software is useful in so many ways.

 

[Tim McCulloch]

Re: Levels and First Gig

+1 Some of our more entry level operators are going to have take a good look at what they consider adequate rig for the gig, the X32 (and all other digital consoles that I know of) aren't going to be as forgiving of being pushed to their limits compared to a decent analog console. I've got enough experience on this console now that I think I can safely say that I have a fair idea of it's limits, you need the maintain some headroom on your L/R outs and the only way you can do that is with a properly configured driverack controlling a rig that is big enough for the job at hand.

If anyone is consistently driving an X32 into output digital clip, they've been banging the outputs of their analog mixers at +18 or more*. That should have red lights flashing everywhere and probably involves assigning the inputs to every mix bus and L/R.

This is more than Not Enough Rig for the Gig®, it's how people kill their PA speakers and amps, then come to forums and complain that the gear is shit. The system is well into power compression and sending more voltage to the speakers only makes voice coils hotter and raises VC resistance further. The amps run significantly hotter and their life expectancy drops. Things start dying.

/topic swerve

* or they've applied additional gain after the desk, i.e at the EQ, with compressors, or at the crossover; it's also possible they've reduced system input sensitivity to a ridiculous point, but the acoustic output from the system should be the same as before if it receives the same drive level.

 

[Tamas Tako]

high pitch tone @ phones & Monitor outputs: Is this issue solved yet?

Hi,
I am following this Thread, and want to thank you all for the informations here...
One thing, I may missed is, that many consoles suffered from High pitched tone (noise) on the Monitor outputs and Phonse outputs including my own.
Was there any solution for that yet? Or I just have to live with it?

Thanks,

Tamas

 

[Klaus Mock]

Re: Mute group behavior

I did not have a problem with my one mute group, but was shocked to learn from this forum about the behaviour....
Mick Berg.

Hi Mick,
I agree that the analog behavior of the mute groups should be available also on the X32.

But I will introduce my workaround:
A channel can be member of more than one mute group. If so, all mute groups must be dis-engaged to bring the channel online. This behavior can be used to configure several channels to be muted although your working mute group un-mutes the rest.
An example:
Your working mute group is the group one and the channels 1-16 are member of the group. The channel 14 is also assigned to mute group two. When you un-mute group one all channels 1-16 will be activated except channel 14 unless you also un-mute group 2.

HTH
Klaus

 

[brian maddox]

Re: Levels and First Gig

I did not have a problem with my one mute group, but was shocked to learn from this forum about the behaviour. As I see it the mute group button should toggle the mutes that are part of the mute group. If any mute has been activated independently, it should stay muted, just like an analog console with mechanical switches.

Mick Berg.

i was also a bit taken aback by this behavior. very counter-intuitive for us old analog guys. that being said, it's not a huge deal for me since i really try to not use mutes anyway. this goes back to working for a sound shop where half the desks had On/Off switches and the other half had Mute switches. so on half the desks, red light meant the channel was ON. on the others, it meant the channel was OFF. just too easy to have a mental lapse in that scenario, so i pretty much stopped using Mute/On/off buttons and just started using faders and vca's to turn things on and off....

 

[Paul Mirtschin]

Re: Gain

I usually run DJ outputs through a DI box, even if their mixer has XLR outs. This knocks the signal down to mic level (ie drops it by 40db or so) so that even when they slam their outputs, you are still getting something sensible, and within the range of most console's pre-amps gain range. It makes it impossible to overload the console's inputs even when there's smoke coming out of their headphones. To be honest I wouldn't change the console design just to accomodate these "well-trained sound engineers", when there is a simple external fix. But that's just my opinion.

Mick Berg.

That's the other option, but like pads, requires remembering to drag a few along

 

[Tim McCulloch]

Re: Gain

That's the other option, but like pads, requires remembering to drag a few along

Surely that's not an issue for a professional.