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  • New
    windizzle
    Contributor - Level 2
    2021-02-20

    Does anyone have any experience hooking 2 X32's together?

     

    I would go out of the AES50 B side of the FOH into the AES50 A side of the broadcast x32.  The FOH X32 is communication with 2 S16's at the front of our sanctuary

    I know how to do the physical routing of cords between mixers but the routing has me a bit stumped

     

    Many thanks

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    0 14
    • windizzle
      billygallagher hello my name is william with music tribe. Do you have a digital snake involved with this as well?
      • Feb 19
    • windizzle
      billygallagher How can I connect 2 X32 units with an S32 stagebox?

      Listed just below will be the instructions for using two X32 units and a S32 in a MAIN/MONITOR scenario. 
       
      1. Connect the AES50 A port on the MONITOR X32 to the AES50 A port on the S32. 
      2. Connect the AES50 B port of the MONITOR X32 unit to the AES50 A port of the FOH X32 via Shielded CAT-5E with Ethercon connectors. 
      3. Now the configuration of the monitor console has to be set.  Keep in mind that in this configuration, the monitor console will be the one controlling the input gains of the mic preamps, so a good and intensive sound check may be done. Press the SETUP button of the monitor console and stay in the GLOBAL tab. Make sure that the CLOCK SOURCE is set to INTERNAL. Press the SETUP button on the FOH console and make sure that the  CLOCK SOURCE  is set to AES50A. 
      5. Press the ROUTING button on the monitor console.  On the INPUT  tab select “AES50A1-8” as the source for “INPUTS 1-8”, “AES50A 9-16” for “INPUT 9-16”, and accordingly for channels 17-32. 
      6. To route the channels through the on-stage console to the FOH console, switch to the AES50B page in ROUTING on the MONITOR X32 and set “OUTPUT 1-8”  to “AES50A 1-8”, “OUTPUT 9-16” to “AES50A 9-16”, ETC. 
      7. On the FOH X32 console, press the ROUTING button next to the display.  On the INPUT tab select “AES50A 1-8” as source for “INPUTS 1-8”, “AES50A 9-16” for “INPUTS 9-16”, and accordingly for channels 17-32. 
      8. To get the main out from the FOH back to the S32 to feed the PA, the main outs of the console, which are routed per default to OUT 15 and OUT 16, have to be routed through the monitor X32 console.  To achieve this, select the AES50A tab in the ROUTING of the FOH console and set OUTPUTS 9-16 to “OUT 9-16”.  On the monitor console, choose the AES50A tab and set OUTPUT 9-16 to “AES50B 9-16”.  The MAIN OUTPUTS of the FOH console are now available on outputs 15 and 16 on the S32
      • Feb 19
      • Hooking 2 X32;s together one for FOH and One as a broadcast mixer
        windizzle I should clarify. The FOH X32 already communicates to 2 S16s at the front of our sanctuary via CAT coming out of AES50A. So that system exists. I want to put an X32 rack in the sound booth and go out of the AES50 B of the FOH into AES50A of the rack. The FOH X32 and stage boxes already are installed and working. I hope that makes sense. My apologies
        • Feb 20
    • windizzle
      windizzle I should clarify. The FOH X32 is already communication to two S16 stage boxes at the front of our sanctuary via CAT.
      • Feb 20
    • windizzle
      Paul_Vannatto On the FOH X32, Routing, AESB screen, make the following assignments:
      * 1-8 -> AES50 A1-8
      * 9-16 -> AES50 A9-16
      * 17-24 -> AES50 A17-24
      * 25-32 -> AES50 A25-32
      This will transfer the 32 channels from the 2 S16 through the FOH to the Broadcast X32
      • Feb 20
    • windizzle
      windizzle Perfect, that did the trick sir. Much appreciation
      • Feb 20
  • New
    ralfrottmann
    Newcomer - Level 1
    2021-02-19

    Hi there,

    I just today got my Behringer WING and so far, I'm loving it. However, I've got a strange configuration issue. I've connected a computer (Mac Pro) via USB. I've configured the source accordingly. When I play back a left/right stereo test file from the computer, I do see the levels for left and right channel correctly displayed. Also main out correctly reflects left and right.

    However: On the headphones plugged into the headphone monitor jack, I do hear the left channel on both speakers and nothing when only the right channel playes back.

    Can anybody shed some light on this. I went through every setting twice and run out of options.

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    0 5
    • ralfrottmann
      billygallagher Hello my name is william with music tribe. Can you tell me what kind of headphones you are using?
      • Feb 19
      • WING: Right channel missing on headphone monitor
        ralfrottmann I'm using beyerdynamics DT 979 headphones. After a console init + firmware update (from 1.01. to 1.10) the issue is gone.
        • Feb 20
  • New
    michaelabel
    Newcomer - Level 1
    2021-02-19

    Hi!

    I really enjoy the very flexible user interface of the WING by putting the channels on the available layers. Using the "View" Button I also use the possibility to have the same channel available on different layers in order to make the fader readily available no matter which layer is activated. Another nice feature (using he "View" Button) is that I can have a "send to fader" (e.g. a send to bus N with effect XYZ) next to the "normal" fader for a channel.

    What I am looking for right now ist to create a fader that applies to one of the send levels to MAIN1 to MAIN4. To give you an idea what I want: We use MAIN1 for our site and MAIN2 for the livestream. Let's imagine a speaker on Channel X that most of the time is routed to MAIN1 and MAIN2 but in specific situations we only want to route to MAIN1. I can turn down or shut off the "send to MAIN2" in the GUI but it would be easier to have Fader A for "send level of Channel X to MAIN1" and Fader B for "send level of Channel X to MAIN2".

    I hope you can follow my (weird?) train of thought. Any ideas on how to implement this?

    Michael

     

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    0 8
  • New
    JPlocher
    Newcomer - Level 1
    2021-02-19

    The Behringer WING Intro and How To Use series videos are great - they explain in detail how to exercise all the features on the mixer.

    But.

    They never explain WHY one would use these features, or how those features are intended to be used together.  Without the WHY, and a mental model of the system's interconnections that I can use to organize everything in my head, the HOW is just noise.  Specifically, does anyone have a block diagram of sorts that showed the possible signal paths from a bunch of different examples, from input to channels / bus's / matrixes / mains and then on to outputs?

    It may sound simple, but, given that any output can effectively be driven by anything, I'm stuck on figuring out _when_ would/should I use a MAIN instead of a BUS or a MATRIX?

    My working scenerio is:

    • CH 1 & 2 are VOX sent to BUS 1
    • CH 3 & 4 are Keys sent to BUS 2
    • BUS 1 and BUS 2 get sent to MATRIX 1 for HOUSE and MATRIX 2 for STREAMING

    Then what?  I can't find a way to send MATRIX 1 to a Main that drives my HOUSE Speakers. Worse, I don't know why I even would want to use MAINs and not simply send MATRIX 1 directly to those outputs.   Where do sound booth monitors and talkback fit in? 

    So many questions...  Thanks for any answers!

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    0 8
    • JPlocher
      Paul_Vannatto Hi John,

      Welcome to the forum and the digital audio world. I can sympathise with you since that is where I was 8 years ago (Dec 2012) when my church replaced their analog console with the new X32. Since I was the senior sound tech, I was expected to set it up and teach the other volunteer techs. Fortunately I realised that I needed help to understand this new console (and the digital audio in general) and therefore joined the forum and started asking lots and lots (and lots) of questions.

      The Wing is a few levels more complex than the X32. Thus your question as to why is justified. But with the design of the Wing, the better question is "why not". There is no reason why you can't use a matrix output to be assigned to a couple of physical outputs. But because there are 4 stereo Main buses, I prefer to use those first.

      One thing you need to understand is that the Wing is stereo in designed, meaning that everything, including channels, buses, matrixes and Mains are stereo in nature.

      Another thing you need to understand is that inputs are configured in the Routing section as mono, stereo or mid-side. Once any inputs are linked as stereo or mid-side (odd/even inputs), when they are assigned to any channel, that channel becomes a stereo channel. This means that if all inputs are configured as stereo, the Wing could conceivably mix up to 96 inputs.

      The best thing to do, while you are playing with the Wing is to ask questions here. There are many that will be more than willing to answer your questions as they come up.
      • Feb 18
    • JPlocher
      Paul_Vannatto To answer your question regarding matrixes, buses and Mains can be sent to matrixes, not the other way around (by design).

      I tend to use the KISS method with my digital setup. For your example of having 2 vocal and 2 instrument inputs, I wouldn't bother with buses, except for monitor mixes and FX sends. If there is a particular reason to use buses, matrixes, etc., they are there if needed. It is much easier to troubleshoot routing issues if everything is setup as simple as possible.
      • Feb 18
      • New to Digital Mixers / WING - confused and adrift without a user manual for the product...
        JPlocher We are producing a hybrid mix of live audio (readings/preaching) and prerecorded (other readings and virtual choir mixes from those whose necessity keeps remote), with constraints: The Preacher's / Lector's/ Deacon's mics have to be "low" for the PA feed otherwise the PA system causes feedback, but needs to be "high" in the audience speakers and on the "stream" so they can hear things. The recorded playback needs to be "high" on the PA system and the Stream, but "medium" on the audience speakers, etc etc.

        The various vocal mics feel like a BUS, with the ambient/audience mics on another BUS. The ProPresenter audio feed goes on its own AUX-IN-fed channel, and it all sounds (sorry for the pun) like an excellent fit for Matrixes: PA, House, Stream

        Should I feel bad that I'm not using ANY MAINs?
        • Feb 18
      • New to Digital Mixers / WING - confused and adrift without a user manual for the product...
        Paul_Vannatto No not at all (not using Mains). As long as you can follow the signal path through the various buses, matrixes, etc. when something doesn't work. Signal spaghetti can occur just as easily in the digital realm as in the analog realm (with XLR cables all over the stage). But it is much more difficult to follow the digital signal path than it is to grab an XLR cable and follow it from one end to another.

        From what you have explained, you have a PA feed (whatever that is), an audience feed and a livestream feed (outputs). You desire to group speaking inputs and prerecording inputs. To be honest, the Wing seems to be an overkill for those requirements. An X32 or even an XR18/MR18 would work just as well and provide all of the digital control needs for this application. I'm fortunate to have all of these consoles. So I would match the requirements to the appropriate console.
        • Feb 18
    • JPlocher
      KevinMaxwell There are many different ways to set up a digital console. I am one of those people that use Mix Bus as variable groups and I also use the Matrix and DCAs. Below is a couple of things I wrote at other times but it relates to your questions so I am copying it here.

      When I set up a system I EQ the system for linearity, in other words what goes in is what comes out. I never EQ a system to a vocal mic. I feed the like vocal mics to a Mix Bus and I EQ that for gain before feedback. And I usually put other things into Mix Bus sends using them as variable sub groups. And then I route those to the Matrix. And I also take advantage of the DCAs to give me the kind of control I want during a show.

      On the Wing there aren’t the usual effects returns. So I am using the Mains 1-4 as my effects sends. I insert the effect onto the Main and then use that main as the input to an aux channel. Then you can send that aux channel to where ever you want thus putting how much reverb you send to the house (matrix) and how much if any to the Mix Bus that you use for each monitor. Or out to a matrix that feeds your broadcast/Streaming feed.

      Where are you located? I am in SW CT near NYC.
      • Feb 18
    • JPlocher
      GeorgeDougherty Here's how I just configured a wing for a church doing a similar mixing arrangement. As Kevin mentioned, I use buses for monitor sends and several subgroups to process and gel together drums, instruments, vocals and speaking microphones. Most channels feed through a mixbus where I set feedback notching for speaking mics, etc. Music playback sources go straight to mains.

      Main 1 is my stereo master mix, Main 2 is a variable feed for subs, Main 3 is Stream only routing and Main 4 is Room only routing. I don't EQ or process anything on the main mixes, it's just for simple routing to endpoints from mix channels and auxes.

      Matrix 1 is a stereo send to the Stream
      Matrix 2 and 3 route to separate in-building audio outputs (foyer and cry room eq'd and delayed independently to align with bleed from the house system),
      Matrix 7 and 8 are the house outputs and sub outputs respectively. I always use 7/8 for system outs just because.
      I also used Matrix 6 for nearfield monitors EQ'd, delayed, and balanced to fill in clarity at the mix position which is outside direct coverage of the house system.

      Main 1 sends to Matrix 1, 2, 3, 6, 7 The send to Matrix 7 is at -10db and 0db everywhere else This naturally increases the level into the Matrix 1 where I use a compressor/limiter.
      Main 2 sends only to Matrix 8 also at -10db.
      Main 3 sends only to Matrix 1 at 0db
      Main 4 sends to Matrix 6, 7 at -10db, and potentially 2/3 as well.
      In addition to these, the Speaking subgroup sends to both Main 1 and Matrix 1 with a 5db boost to the Matrix. This gives a ~11db boost to help balance comfortable ~75db speaking volumes with ~85-90db music volumes in the stream where we expect volume levels to be more consistent.
      I also route all my Fx outputs into Main 1 and Main 4 (Room Only) with Main 4 send at -3db so I get a net 3db boost into the room. This helps balance Fx levels between the house and broadcast where the room needs more to overcome room acoustics but become heavy-handed when listened to in headphones or a TV at home.

      This routing scenario with Room only routing also affords us the flexibility to handle all kinds of additional scenarios where we may add a zoom call that comes into the board from our streaming system for video mixing in vMix but we don't want to send incoming audio back over to the streaming feed.
      • Feb 23
      • New to Digital Mixers / WING - confused and adrift without a user manual for the product...
        JPlocher This is slowly sinking in - thanks!

        It sounds like: Mains and Matrixes are similar, except that ... (not sure here? Is it that Mains can feed into other things where Matrixes can't?)

        I'm currently routing matrixes to outputs (speakers, stream...) because I can control the levels of the bus's and channels feeding into them, but (check me here...) I could instead feed those same bus's and channels into some of the Mains and do the same thing. Right?
        • Feb 23
      • New to Digital Mixers / WING - confused and adrift without a user manual for the product...
        Paul_Vannatto Mains are actually buses (specialised) that can feed matrixes. Matrixes cannot feed anything. All can be assigned to physical outputs.
        • Feb 23
      • New to Digital Mixers / WING - confused and adrift without a user manual for the product...
        GeorgeDougherty Mains are really 4 dedicated post-fade mix buses that can't feed the first 8 mixbuses.

        Not to get confusing, but if you have a spare input you can route buses, mains and matrixes back to an input /aux channel and do whatever you want. Down that road lies potential for feedback loops so they're best used when you know exactly what you're doing.
        • Feb 28
  • New
    Pixelbow
    Newcomer - Level 1
    2021-02-18

    I have seen several posts about issueees when updating the M32 firmware. I am not running a digital stage box as of now.  Can I update from 3.02 directly to 4.04.1 or should I be updating sequentially? If I save my setup can I load it from a usb to work after the update or will I have to resetup how my board is layed out manually as the routing menus have seemed to change?

    Craig

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    0 5
    • Pixelbow
      Paul_Vannatto Hi Craig, You can update from 3.02 directly to 4.04. But backup your scenes, snippets (and cues by exporting the show to a USB stick) as well as any presets in the Library. Added to that, have a look at the first 4 screens of the Setup and make note of those settings. Updating from 3.x to 4.x will set the M32 to factory default settings. Once you have completed the update to 4.04, you will be able to do a full backup (including the Setup screens).
      • Feb 18
    • Pixelbow
      Pixelbow Sounds good... Thank you for the response!
      • Feb 18
  • New
    RobertWJones
    Contributor - Level 2
    2021-02-18

    Having an issue with AES50 port A on a compact, trying to connect an SD16. i've been running the x32 since day one, thought i could troubleshoot anything, but this one has me stumped. With no cat5 connected, i have a red square next to A:, and in connected devices, it shows a connected console (1st pic), local inputs work fine. When i plug into AES50 A, it shows no connected device and neither the inputs on the console or stage box work, no matter how routing is set, and the AES50A light on the SD16 may occasionally flash, sometimes red, sometimes green (2nd pic). if i plug into AES50B on the console, the console re-appears in the connected devices A: window, along with the SD16 in connected devices B: (3rd pic). Routing through AES B 1-8 and 9-16 everthing works as it should. sync is set to internal on the compact, sample rate doesn't matter. have tried many different cat5 cables, rebooting and i have reinitialized the console to make sure it wasn't just confused... concerned there may be an issue with port AES50 A on console. There was a similar post May 2019, that i see Paul chimed in on, but no real resolution or reccommended... i've pretty much narrowed to an issue in the compact itself since SD16 and cabling work fine through port B. what could i be missing? anyone....

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    0 10
    • RobertWJones
      RobertWJones
      • Feb 18
    • RobertWJones
      RobertWJones of course he pics posted in the wrong order, but you get the idea.... it also bears mentioning that when i visited the customer last friday, everything booted fine, and i was "what are you talking about"... they decided they were ready for additional training and saturday morning, the problem replicated itself with no changes from when it worked friday evening. also worth mentioning and noted in this last pic, a couple times during power cycles, it HAS shown a connected device of an x32 with a green square while it's been connected to the SD16... this pic...
      • Feb 18
    • RobertWJones
      Paul_Vannatto One thing you can do, before submitting a ticket (by clicking on the Support above) is to have a close look (with a magnifying glass) at the AES50 A port. Have a look at the little fingers and make sure they are all parallel to each other and not bent or damaged.
      • Feb 18
    • RobertWJones
      KevinMaxwell I would suggest that if you can move the SD16 and the X32 close to each other and hook them together with a short Ethernet cable. To test this you shouldn't need to use and ether-con cable just a regular ethernet cable and see if it works.
      • Feb 18
      • connection issue, x32compact with sd16
        RobertWJones thanks kevin... i did fail to mention that its a portable system, not a fixed install and the equipment is readily available and accessible in my shop if anyone had additional questions....
        • Feb 19
  • New
    SoundFocusLLC
    Newcomer - Level 1
    2021-02-18

    Can one network 2 X32 mixers together via the AES-50 ports (no S16 stagebox)? Or can this only be done with Dante cards?

    0 22
  • New
    MCG1DUMC
    Newcomer - Level 1
    2021-02-18

    Any suggestions on how to get this back up and running as soon as possible. We already had to do one last nights  service with a make shift rig.  

    0 14
    • MCG1DUMC
      Dale_M Hi Dale here do you think you can submit a support ticket (technical) from the tab above and put FAO Dale in the subject line so I can help you please?
      • Feb 22
  • New
    MikeDrennan
    Contributor - Level 3
    2021-02-18

    There is a trick in Logic Pro X whereby you can measure the recording latency from your audio interface.  It works like this:

    Create an audio track.  Instantiate an "I/O" plug-in from the "Utility" folder.  Physically cable an input to an output on your hardware.  Set the appropriate input and output inside the I/O plugin and send an audio "ping" from DAW to interface, and back again.  The system automatically captures the round trip latency and displays it. 

    For the life of me, I cannot get this to work using the Wing.  Can someone help me with the routing to create a physical audio loopback to the DAW?  Much appreciated.  

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    0 2
    • MikeDrennan
      Paul_Vannatto If you use input 1 and output 1 on the back of the Wing, go to the Routing section and select the output (top right of screen). Select Local Out, unlock then select the Local In as source, then Local In 1 (then lock). But this will calculate the latency using analog in and out, not the USB.
      • Feb 18
      • Wing and Logic Pro X:  Recording Offset Delay
        MikeDrennan So how then, to calculate the USB latency? And there is also the AES50 latency to contend with. I am monitoring tracking through AES50 (DP48), and drums are tracked through SD16s. There is a notable offset in Logic.
        • Feb 18
    • MikeDrennan
      Paul_Vannatto There shouldn't be any noticeable latency from the AES50. IIRC the AES50 has 0.9ms latency per node. But by adding the DP48 and SD16 to the signal path creates a difficulty with a physical loop back. I guess you could connect a TRS to XLR cable from the DP48 Mix A line output to an input of the SD16. For the routing assignments in the Wing, it would be:
      * AES50 Out (A, B or C, depending on what the DP48 is connected to), source is USB In 1
      * USB Out 1, source will be AES50 (A, B, or C, depending on what the SD16 is connected to)
      • Feb 18
      • Wing and Logic Pro X:  Recording Offset Delay
        MikeDrennan Interesting idea Paul. I’ll try it and report my findings.
        • Feb 18
  • New
    h941224
    Newcomer - Level 1
    2021-02-18
    Hi
    I'm using a Boehringer wing, and I'm trying to create an MTC using a MIDI cable to synchronize two computers.
    But it doesn't work
    Should MIDI input and output be set on the Boehringer wing?
    read more...
    0 7
    • h941224
      PatrickGMaillot Hi h941224 (is that your name?:) ). I don't think WING sends any MTC/clock data over MIDI. In any case you need to enable MIDI (Din or USB) to send/receive MIDI data to/from WING.
      • Feb 18
    • h941224
      LuukvanKuipers A Boehringer?
      • Feb 18
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