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X32 Discussion
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<blockquote data-quote="Dan Mortensen" data-source="post: 74360" data-attributes="member: 2826"><p>Re: X32 Discussion</p><p></p><p>Since there seems to be a "Here's My Gig" subthread within this thread, here are some pics from the two shows I've done so far with an X32.</p><p></p><p>The first was a live radio broadcast for a University near here that has Jazz Big Band in its Music curriculum, and a campus FM radio station with a Jazz format and a region-wide coverage. (first 4 pictures)</p><p></p><p>I do the in-room PA mix with my gear, and a station engineer does the broadcast mix (which is also recorded for delayed presentation on Christmas Day) with their gear. I do what little stage monitor mixing there is from FOH. Stage inputs are split between consoles with a kludge of mic splitters, and the station engineer is adamant that they all be Jensen transformer isolated. Given that their provided splitter is 24 channels, and we had 31 inputs, the last 7 inputs were a challenge that we resolved with a tangle of single channel units, a bunch of cables, and parallel DI's for the two direct inputs.</p><p></p><p>The campus Jazz band performs with a special guest, and this year it was a local Gypsy Jazz band, Pearl Django.</p><p></p><p>This year I used the X32, and was pleasantly surprised at how much easier it made my life that day despite my comparative unfamiliarity with it relative to my analog boards.</p><p></p><p>I didn't get good pics after the room was full because I was kind of busy, but it went like clockwork and sounded as good as it can sound in a very live but beautiful room. Next year I intend to make the station engineer comfortable with using an X32 on his end, as it should cut an hour off our setup time by eliminating all the splitter patching.</p><p></p><p>The second event was the 24th annual local concert of Duke Ellington's Sacred Music, with a different Jazz Big Band, a 26 voice choir, two vocal soloists, and a tap dancer. There may have been a kitchen sink in there somewhere, too. (last 3 pictures)</p><p></p><p>Again, the console worked great, although this room is quite a bit more of an acoustic challenge than the other one, and I was wishing I was more adept at using the in-console EQ. I was kind of missing my outboard EQ, but feel it is a cockpit problem rather than a hardware one which I will continue to try to improve.</p><p></p><p>One thing I haven't mastered yet is only being able to do one thing at a time and observe one thing at a time. Yes, I know that is not precisely true, but there are a lot of things of which you have to be aware without being able to directly see them at any given moment. </p><p></p><p>Something that is so remarkable about this console is its ability to have multiple additional screens using iPads, and I intend to incorporate that into my workflow. There is a Behringer ad which discusses the Midas heritage from which the X32 springs, and it shows an XL8 with 4 or more screens. If users at that level need multiple screens, so do I, and the iPads can each be set to monitor different functions. So far I'm using a 1st Gen to watch the input channel meters, and just got a Mini for the output meters (or whatever).</p><p></p><p>My next intensive use for the consoles will be a four-stage Winter bluegrass festival that we do; the challenge there is that there are people listening very closely to very nice acoustic instruments that we amplify to fill the spaces, and the audience and client have come to expect a pretty high level of fidelity. Given what I've heard so far from these consoles, I think they can meet high expectations.</p><p></p><p>My learning curve has been steeper than many of yours, as these are my first digital consoles, and like all computers, there are times when I just sit there and stare at it, trying to figure out why it's doing THIS and not what I think it should be doing. </p><p></p><p>And I think it will be challenging to explain to another operator how all the parameters are set up; I've started on a sort of "patch sheet" that will summarize all relevant setup pages, and have formatted a "Standard FOH" scene based around 8 monitor mixes, L-R-Mono, 4 subgroups, 2 Matrix, and 3 user-available outputs. I'm curious how other people transmit this information. I'm also curious how channels get labeled in "run and gun" situations, but that's probably another post.</p><p></p><p>This is a wonderful console.</p></blockquote><p></p>
[QUOTE="Dan Mortensen, post: 74360, member: 2826"] Re: X32 Discussion Since there seems to be a "Here's My Gig" subthread within this thread, here are some pics from the two shows I've done so far with an X32. The first was a live radio broadcast for a University near here that has Jazz Big Band in its Music curriculum, and a campus FM radio station with a Jazz format and a region-wide coverage. (first 4 pictures) I do the in-room PA mix with my gear, and a station engineer does the broadcast mix (which is also recorded for delayed presentation on Christmas Day) with their gear. I do what little stage monitor mixing there is from FOH. Stage inputs are split between consoles with a kludge of mic splitters, and the station engineer is adamant that they all be Jensen transformer isolated. Given that their provided splitter is 24 channels, and we had 31 inputs, the last 7 inputs were a challenge that we resolved with a tangle of single channel units, a bunch of cables, and parallel DI's for the two direct inputs. The campus Jazz band performs with a special guest, and this year it was a local Gypsy Jazz band, Pearl Django. This year I used the X32, and was pleasantly surprised at how much easier it made my life that day despite my comparative unfamiliarity with it relative to my analog boards. I didn't get good pics after the room was full because I was kind of busy, but it went like clockwork and sounded as good as it can sound in a very live but beautiful room. Next year I intend to make the station engineer comfortable with using an X32 on his end, as it should cut an hour off our setup time by eliminating all the splitter patching. The second event was the 24th annual local concert of Duke Ellington's Sacred Music, with a different Jazz Big Band, a 26 voice choir, two vocal soloists, and a tap dancer. There may have been a kitchen sink in there somewhere, too. (last 3 pictures) Again, the console worked great, although this room is quite a bit more of an acoustic challenge than the other one, and I was wishing I was more adept at using the in-console EQ. I was kind of missing my outboard EQ, but feel it is a cockpit problem rather than a hardware one which I will continue to try to improve. One thing I haven't mastered yet is only being able to do one thing at a time and observe one thing at a time. Yes, I know that is not precisely true, but there are a lot of things of which you have to be aware without being able to directly see them at any given moment. Something that is so remarkable about this console is its ability to have multiple additional screens using iPads, and I intend to incorporate that into my workflow. There is a Behringer ad which discusses the Midas heritage from which the X32 springs, and it shows an XL8 with 4 or more screens. If users at that level need multiple screens, so do I, and the iPads can each be set to monitor different functions. So far I'm using a 1st Gen to watch the input channel meters, and just got a Mini for the output meters (or whatever). My next intensive use for the consoles will be a four-stage Winter bluegrass festival that we do; the challenge there is that there are people listening very closely to very nice acoustic instruments that we amplify to fill the spaces, and the audience and client have come to expect a pretty high level of fidelity. Given what I've heard so far from these consoles, I think they can meet high expectations. My learning curve has been steeper than many of yours, as these are my first digital consoles, and like all computers, there are times when I just sit there and stare at it, trying to figure out why it's doing THIS and not what I think it should be doing. And I think it will be challenging to explain to another operator how all the parameters are set up; I've started on a sort of "patch sheet" that will summarize all relevant setup pages, and have formatted a "Standard FOH" scene based around 8 monitor mixes, L-R-Mono, 4 subgroups, 2 Matrix, and 3 user-available outputs. I'm curious how other people transmit this information. I'm also curious how channels get labeled in "run and gun" situations, but that's probably another post. This is a wonderful console. [/QUOTE]
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