X32 Discussion

[Klaus Mock]

Re: DAW playback during production

Yes they are bock selected for a fastest up, but when you select a channel and move to the configure tab the source for any channel available should show there. AES50 and all

You can choose between 160 input sources for a total amount of 32 inputs in block of eights. Not a bad benchmark for the pricepoint of this product. Not to mention that you can route the same or other 32 inputs to the card output or cardoutput directly to AES50. No matter whether the block of eight is a hardware constraint or just artificially done by software limitations this is ok for me.

Brent, you found a hair in the delicious soup made by Behringer. Lets talk about the hair instead about the soup. Hmmm..

 

[Robert Lofgren]

Re: DAW playback during production

Unless something has changed recently, the AES50 input sources are selectable in groups, not individual channels. So, no I cannot do this.

"1 to 1" means stage input 1 to console channel 1. I cannot do that in this as I should for this customer because the channel inputs are grouped on AES50 inputs. Because this church has three inputs per pocket, and the pockets are laid out the way they are, the church has to use the S16s as a patchbay, changing the order of the stage inputs so when the first 1-8 channels of S16 #1 are sourced, there are no open/wasted inputs.

Check out these pictures.

As you can see, first you need to choose from the available hardware inputs in groups of eight. This step might take some planning if you have several input sources in multiple locations.

But once you've selected from all of your available inputs in the x32 eco-system (160+ channels!) into those five input blocks you can then freely assign them to your channels strips. The default assignment is the standard consecutive order as the one you see in the home configuration.

E.g. All your channel strips can be assigned to aes50-b input 3 if you want to or you can randomly throw them around if you'd like that.

It is important to differentiate between hardware inputs and channel strips. They have 'nothing' to do with each other.

Edit: The choices for each channel strip input sources are Input1~32 as defined in the HOME-section, 8 auxes/usb, 8 fx-returns and the 16 mixbusses.

Also, the auxes can have its inputs assigned from local, aux, aes50 and card in a semi-clever way that defeats the blocks of eight somewhat.

 

[Thorsten Kowalski]

Re: Bus/monitor volume

Thank you very much! That's what I have overlooked although I have been on that page.

Too many options

Hi thorsten,

when you assign the output of the bus to a physical output, lets say mixbus 1 should leave the desk via local output 1, the you have to do this configuration at the routing page, outputs. There you can not only assign for each physical output the source, in our example mixbus 1, but also the tappoint of the signal. This is a little bit different to most analog desks as ananlog desks usually are always configured to post aux master. Here you have to choose post fader so that you can control the output level with the bus master fader.

 

[Klaus Roethlisberger]

Re: DAW playback during production

Check out these pictures.

As you can see, first you need to choose from the available hardware inputs in groups of eight. This step might take some planning if you have several input sources in multiple locations.

But once you've selected from all of your available inputs in the x32 eco-system (160+ channels!) into those five input blocks you can then freely assign them to your channels strips.

E.g. All your channel strips can be assigned to aes50-b input 3 if you want to or you can randomly throw them around if you'd like that.

It is important to differentiate between hardware inputs and channel strips. They have 'nothing' to do with each other.

Edit: The choices for each channel strip input sources are Input1~32 as defined in the HOME-section, 8 auxes/usb, 8 fx-returns and the 16 mixbusses.

Also, the auxes can have its inputs assigned from local, aux, aes50 and card in a semi-clever way that defeats the blocks of eight somewhat.

Can we say :
Using less than 8 inputs has to be done via Aux, if one doesn't want to 'waste' a whole block of 8

Please correct me

Best

Klaus

 

[Robert Lofgren]

Re: DAW playback during production

Can we say :
Using less than 8 inputs has to be done via Aux, if one doesn't want to 'waste' a whole block of 8

Please correct me

Best

Klaus

In a way - Yes.

A common use is to have the s16 stage boxes on the stage but some wireless at the console. Using the aux routing you can overcome this routing issue by some clever planning...

The thing is that the routing can be a part of a scene/snippet so each scene can pick from all of those 160+ inputs (blocks of eight + aux) at any time.

If you're not using scenes/snippets you can still utilize your routing presets in your routing utility page.

 

[Dan McCoy]

Re: DAW playback during production

This is a hardware limitation and cannot be altered. It has been discussed several times in this thread. If it's a deal breaker you bought the wrong product. Sorry...

No Tim, I wasn't complaning, just wondering if there was something I was missing or a better way to do it. I love this board.

 

[Dan McCoy]

Re: DAW playback during production

In a way - Yes.

A common use is to have the s16 stage boxes on the stage but some wireless at the console. Using the aux routing you can overcome this routing issue by some clever planning...

The thing is that the routing can be a part of a scene/snippet so each scene can pick from all of those 160+ inputs (blocks of eight + aux) at any time.

If you're not using scenes/snippets you can still utilize your routing presets in your routing utility page.

Bingo - I only need 24 channels live in a fixed permanant way. I reserve the last 8 and the Aux1-2 for floating routing. In the scenes it's easy to flop this around on the fly. Although I do find this easier to do in the snippets now. As you can also include JUST the config for a given channel or two and then assign those snippets to a scene as opposed to recording everything and playing back everything.

 

[Dan McCoy]

Delaying mains using x32

I have a campus church we setup for each week. The only system processing we are doing is done in the board. Front row in front of the loud speaker is 30 feet to source sound. that same person is about 3ft from the loudspeaker. Any reason you wouldnt use delay in the mains of 25ms to delay the mains to image the sound back to the source?

 

[Peter van Gils]

Re: Delaying mains using x32

I have a campus church we setup for each week. The only system processing we are doing is done in the board. Front row in front of the loud speaker is 30 feet to source sound. that same person is about 3ft from the loudspeaker. Any reason you wouldnt use delay in the mains of 25ms to delay the mains to image the sound back to the source?

If there are also sources more nearby, eg at 10ft, you might be better of using input delays instead of output delays. BUT, be aware that input delays will also be present in monitoring... (you want to keep delay in monitors below 5, max 10ms).
So, you might end up with a combination of input and output delays: output delay to align the PA with the closest source and input delays to align sources further away.

 

[Brent Handy]

Re: DAW playback during production

Check out these pictures.

As you can see, first you need to choose from the available hardware inputs in groups of eight. This step might take some planning if you have several input sources in multiple locations.

But once you've selected from all of your available inputs in the x32 eco-system (160+ channels!) into those five input blocks you can then freely assign them to your channels strips. The default assignment is the standard consecutive order as the one you see in the home configuration.

E.g. All your channel strips can be assigned to aes50-b input 3 if you want to or you can randomly throw them around if you'd like that.

It is important to differentiate between hardware inputs and channel strips. They have 'nothing' to do with each other.

Edit: The choices for each channel strip input sources are Input1~32 as defined in the HOME-section, 8 auxes/usb, 8 fx-returns and the 16 mixbusses.

Also, the auxes can have its inputs assigned from local, aux, aes50 and card in a semi-clever way that defeats the blocks of eight somewhat.

Exactly. It takes planning. The inputs are selectable in groups of eight, not individually. In some situations, with existing stage floor pockets and diverse stage sets, it makes life hard. This is why other consoles have the upper hand. It is not that the console cannot route internally. It is how the console must be connected physically because of the input group selection that makes things less tidy than they need to be.

 

[Shane Presley]

Re: DAW playback during production

Exactly. It takes planning. The inputs are selectable in groups of eight, not individually. In some situations, with existing stage floor pockets and diverse stage sets, it makes life hard. This is why other consoles have the upper hand. It is not that the console cannot route internally. It is how the console must be connected physically because of the input group selection that makes things less tidy than they need to be.

Repeat after me....$3000, $3000, ... This is just a $3000 console....

 

[Aaron Hammett]

Re: Bus/monitor volume

Hi thorsten,

You have to distinguish between the configuration of the bus sind mode, done via the bus's home page and the how the bus mains is send to the output, done via routing page.

The first will determine how the signals of the input channels will be send to the bus, pre or post fader and so on. This is what you know from the analog desks. Here you should choose pre fader or pre eq for monitor purpose.

when you assign the output of the bus to a physical output, lets say mixbus 1 should leave the desk via local output 1, the you have to do this configuration at the routing page, outputs. There you can not only assign for each physical output the source, in our example mixbus 1, but also the tappoint of the signal. This is a little bit different to most analog desks as ananlog desks usually are always configured to post aux master. Here you have to choose post fader so that you can control the output level with the bus master fader.

you can see this configuration if you initialize the scene to the defaults.

Thank you! This is the one configuration that has baffled me for over a year. The manual isn't too clear for a part-time dunce like me.

 

[Mick Berg]

Re: Master Monitor Volume

Thorsten,

I apologize, I didn't explain that very well. As Per mentioned, I was talking about the tap selection in the Routing page for your analog outs. For each source channel you would of course want pre-fade sends to the bus, but post fader (of the bus) to act as a master volume control.

I fell foul of this "feature" when I upgraded to V2. Somehow the tap point for the main LR was set to "pre". I had no master fader. I panicked and went back to 1.15!

 

[Robert Lofgren]

Re: DAW playback during production

Exactly. It takes planning. The inputs are selectable in groups of eight, not individually. In some situations, with existing stage floor pockets and diverse stage sets, it makes life hard. This is why other consoles have the upper hand. It is not that the console cannot route internally. It is how the console must be connected physically because of the input group selection that makes things less tidy than they need to be.

Ok, but how does this relate to your church setup with two s16?

No, actually, you can't. What I am talking about is this. X32 + S16 stage left + S16 stage right. What if I want to channel 1 of S16 stage left to be CH1 on the X32 and and channel 3 of S16 stage right to be CH2? You can't do that. I CAN do that on other consoles. I have a church with 6 floor pockets. Each floor pocket has three XLR inputs. I cannot wire them "1 to 1" because of the odd number. So the church ends up using the S16s like a patchbay.

You said this was not possible and I showed you with pictures that it is, unless you forgot to mention something important about the church setup.

Two s16 fits into the x32 existing 32 channels so no worries about blocks of eight in this case...

In this included picture ch1=aes50a-2, ch2=aes50b-3, ch3=local-2, ch4=aes50a-9, ch5=aes50b-9, ch6=local-5, ch7=aes50a-13, ch8=aes50b-13.

 

[Thorsten Kowalski]

Re: Master Monitor Volume

I must admit, I'm kind of glad that I'm not the only one who stumbled there

I fell foul of this "feature" when I upgraded to V2. Somehow the tap point for the main LR was set to "pre". I had no master fader. I panicked and went back to 1.15!

 

[Tim McCulloch]

Re: Master Monitor Volume

I fell foul of this "feature" when I upgraded to V2. Somehow the tap point for the main LR was set to "pre". I had no master fader. I panicked and went back to 1.15!

I waited a decent interval before upgrading to 2.02 (I skipped the beta) and did not have my L/R pickoff point changed from Post Fader. Odd indeed.

 

[Per Søvik]

Re: DAW playback during production

Exactly. It takes planning. The inputs are selectable in groups of eight, not individually. In some situations, with existing stage floor pockets and diverse stage sets, it makes life hard. This is why other consoles have the upper hand. It is not that the console cannot route internally. It is how the console must be connected physically because of the input group selection that makes things less tidy than they need to be.

Certainly, if you want to randomly populate several S16 and the console inputs as well, so that in any group of 8 you only have partial population, then the hard patch of the X32 isn't up to the task of concurrently routing 32 channels from more than 5 physical block of 8 sources.
If you insist on working this way, then by all means look elsewhere, and if you are recommending a console to someone who insist on working this way, then you shouldn't recommend an X32, but find a console that will accommodate the particular "need" of the customer.

 

[Scott Bolt]

Re: DAW playback during production

Certainly, if you want to randomly populate several S16 and the console inputs as well, so that in any group of 8 you only have partial population, then the hard patch of the X32 isn't up to the task of concurrently routing 32 channels from more than 5 physical block of 8 sources.
If you insist on working this way, then by all means look elsewhere, and if you are recommending a console to someone who insist on working this way, then you shouldn't recommend an X32, but find a console that will accommodate the particular "need" of the customer.

And be prepared to pay considerably more than $2700.00.

 

[John Chiara]

No FireWire?? Really??

Probably 90% of my acquaintances who record live shows do so using FW...why would Behringer not continue to offer the FW card? It had both USB and FW so no one was being harmed.

 

[Daniel Levi]

Re: No FireWire?? Really??

Probably 90% of my acquaintances who record live shows do so using FW...why would Behringer not continue to offer the FW card? It had both USB and FW so no one was being harmed.

It was due to discontinuation of the archwave chipset used in the card. The usb card uses a completely different XMOS chipset.