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132,639 posts
  • mmisound
    Contributor - Level 3
    2019-09-25

    I have the m32ip and i was wondering if i can put the DN ex card in this mixer.since thats the only difference the m32 live

    0 298
    • mmisound
      RexBeckett

      @mmisound 


      Hello Michael, welcome to the community.


       


      Do you mean the DN32-Live card? You can use this to replace the current expansion card provided you upgrade the console firmware to the latest version.

      • September 25, 2019
    • mmisound
      mmisound

      Thank you very much. and is that the only difference between the m32ip and m3 live?

      • September 25, 2019
  • rhearst1
    Contributor - Level 1
    2019-09-24

    Hi, new to the Midas tribe.  My band has an M32R and I have downloaded the M32-midas app which we use during performances and practices.  I noticed the app has a demo mode and it would be helpful if I could drive the demo mode on my ipad with a demo song so that I could play around with the controls and improve my knowledge.  Is there a way to do that?  If yes, would it require I be connected ipad-with-the-M32R to do this or is there a way I could just work with it at home on the ipad only?

    Thanks,

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    0 263
    • rhearst1
      DaveMorrison

      Hi @rhearst1 


      The Midas control apps only transmit control data; no audio involved. Demo mode is an off-line editor. Demo mode is very useful for learning the system's layout and functionality, and scene/show preparation. Not all functionality is available in Demo mode though. 

      • September 24, 2019
  • ChasHands
    Contributor - Level 2
    2019-09-11
    My setup:
     
    32 inputs of mic and DI into Midas DL32 Stage Box running through the Behringer Cat5 standard 50m reel to the console.  There are no secondary consoles in play.
     
    I choose AES-50A 1-8, 9-16, 17-24, 25-32 as my input sources for the four input banks.  Everything functions as expected.
     
    I connect the KT DN32 USB card to a Mac laptop running a current OS and a current version of ProTools to record, and I also hope to playback as a virtual soundcheck.
     
    FYI - I also record USB flash drive copies of the LR mix each night (recording pre-LR dynamics and pre-LR EQ) so I am only capturing the sounds of the channel processing and mix blends, and I can also use those as general speaker tuning reference material at a new venue, however I would like to be able to work on individual channel sounds.
     
    My expectation of the KT USB card would be that it is capturing raw channel signals, “post" head amp gain (in this case DL32 head amps), and “pre" any console processing (HPF, Polarity, EQ, dynamics, inserts, etc).
    Is that correct?
     
    My expectation after I successfully captured a 32 track ProTools file - which I did - is that I could have a channel by channel virtual soundcheck from the Pro Tools playback, and work on fine tuning channel processing as if the player was playing in front of me.
    Is that correct?
     
    I setup ProTools to recognize the DN32 as the master interface and clock source.  In ProTools, I selected the DN32 as the input device, assigned Input 1 to Channel 1, etc... up to assigning Channel 32 to Input 32, and successfully recorded a 32 channel session from the live event.
     
    Subsequently, in ProTools, I selected the DN32 as the output device, and I assigned Ch 1 to Output 1, etc…. up to assigning Channel 32 to Output 32.
     
    On the M32 Routing Page, on the Inputs tab, I selected Card 1-8, Card 9-16, Card 17-24, Card 25-32 as my input sources for the four input banks.
     
    I’m expecting each channel to see an individual ProTools track associated with that channel - hopefully, coming in through a Trim knob set to “0” so that the channel sees the input at the identical gain that it would have been from the DL32 Stage Box with the original gain of “X” dB dialed in.
    Is that correct?
     
    I’m not seeing any audio except on Channel 1 which is totally overloaded.
     
    Do I have a Midas / KT issue, or perhaps a ProTools issue?
     
    This seems very simple, but I'm not getting the expected result.  Comments?
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    • ChasHands
      garyh

      On the inputs page you want either local or aes50a ch’s, not card. Local for whatever m32 ch’s used and aes50a for whatever DL32 chi’s you are using. That’s when the record section (at the bottom of the inputs page in m32-edit) is set active and recording, when playback is active then you want card ch’s. You set that by selecting play at that same location. Also in card out set that to whatever inputs you used as well, that is whatever ch’s you want sent to your card to record. 

      • September 11, 2019
    • ChasHands
      ChasHands

      Well - obviously my earlier reply just dissappeared into the ether...



       


      Your suggestions seem to be more oriented to using the M32 and DN32 USB card in a studio context, and exploring the abilities of the M32 as a DAW control surface.


       



      I am not trying to go back and forth between recording and playback as if it was a recording session.  I am not trying to control the DAW.  I am also not running additional control software on a laptop (the M32Edit software?)  I am just trying to acquire 32 channels of previously recorded soundcheck material to fine tune console channel sounds at a subsequent venue. 


       


      I am under the impresssion that I can playback DAW tracks as soundcheck material during a live concert setup without necessarily putting the M32 into "DAW Control" mode.  Is that correct?




       


      Perhaps I have misunderstood...


       


      You say "On the inputs page you want either local or aes50a ch’s, not card..." How would selecting my stage box or my local inputs access the playback of audio from my DAW?


       


      To restate the details of my first post, I am initially sourcing audio from my stage box via AES50A, and routing that into a 32 track ProTools session successfully.  That was accomplished by setting M32 inputs to the appropriate AES50A banks 1-8, 9-16, 17-24, 25-32, and then by using the ProTools Playback engine setup to locate and select the KT DN32 card as the master interface, and assigning inputs 1:1... 32:32  Recording happened with no problem.


       


      On playback, In ProTools, I  assigned each of 32 tracks of audio to the corresponding mono outputs (1:1... 32:32).  On the M32 inputs page I selected Card 1-8, 9-16, 17-24, 25-32 as my M32 channel1-32 sources.  This is where I have the problem.  I only get audio on Channel 1.


       


      I'm not sure how your suggestion applies to my situation or what I am trying to acomplish.


       


      Please elaborate.

      • September 12, 2019
    • ChasHands
      DaveMorrison

      @ChasHands 


      It looks like your setup is correct. This is the way it's supposed to work. Now it's troubleshooting time. Do you really have 32 channels on the USB? Is the M32 receiving all 32? Under the Setup > Card tab, Do you have 32 In/Outs selected? If you want to post your current scene file, we can take a look.

      • September 12, 2019
    • ChasHands
      ChasHands

      Well, thank you for confirming that this is something that should be possible, and that my general approach seems sound.


      That’s a good thought to look  at the Card set up page.  I was unaware of that page until I watched a Music Group webinar (with Justin? & John?) this morning. If I recall correctly, there are 4 options determining how many outputs and how many inputs.


       


      As my recording happened exactly as intended, I conclude I have 32 out.


       


      It seems like the input options were 32X32 and 32X8.


       


      Even if it were set to 32X8, why would I only see audio on channel 1?   I think I would see audio on channels 1 through 8.


       


      There is definitely audio evenly distributed on every on every track  of the recording.


      I will be on site tomorrow, and be able to check some things and get some scene files at that time. The console is living onsite for a 10 week show.  It is possible I have an output configuration wrong in ProTools but I have also been working through that process this week, and believe I did it correctly.

      • September 12, 2019
  • TrontinOlivier
    Contributor - Level 3
    2019-09-06

    Hello,

    I've a M32C a DL153 and SD8, an Xtouch, an Ipad and a MacBook pro. My goal is having a screen follow the Xtouch select button. I've tried with Ipad M32Mix app, Mixing Station Pro (turning the "follow mixer" parameter but still not working) and after also on my Macbook pro with M32 edit app and it never follows. I prefer a wired connection but I saw a video somebody connect a BCF2000 to a android tablet with Mixing station Pro and control via Midi then the tablet control the mixer via Wifi (I tried with my Ipad and X touch and never get it worked). Many people on FB said it's possible but can't explain properly. So if somebody here can explain to me I'll be very happy Thanks even if only PC works I can buy a cheap one to run the M32 edit and finally have a screen following my actions on X touch. I've tried many difernt way so please if you have the key can you explain very clearly Many thanks

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  • AudioGuyPa
    Contributor - Level 1
    2019-09-03

    A littel help needed. My channel 6 fader wont decouple when selecting layer 17-32 or Aux layer. Simply put when I raise and lower Channel 6 or 22 or Aux6 the fader moves on all 3 layers.

    Any suggestions would be helpful.

    Note: 5-6 are stereo linked on Layer 1-16 set to Rhthem Guitar Right
    22 is not linked on layer 17-32 it is set to Snare Bottom
    5 and 6 are linked in Aux layer set for Tracks in.
    I tried to unlink ect. with no luck. For now I simply moved everything on Aux Layer and 1-16 layer.

    Id like to resolve even if it means replacing this fader.

    Thanx

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    • AudioGuyPa
      Paul_Vannatto


      @AudioGuyPa wrote:


      A littel help needed. My channel 6 fader wont decouple when selecting layer 17-32 or Aux layer. Simply put when I raise and lower Channel 6 or 22 or Aux6 the fader moves on all 3 layers.





      Hi Ron,


      Welcome to the forum. In all likelyhood, the source of channel 6 is also a source of another channel strip that is linked. If you export your scene to a file and attach it to your next post (Choose File below), we can help you find it.

      • September 3, 2019
  • GuntherMai
    Contributor - Level 2
    2019-09-01

    ... is still missing. 3.4.4 is not working with a console file including VSS4 (performing some funny nonsense to the FX Rack) 

    Hoping for soon release ... 

    2 288
    • GuntherMai
      AlanLawson

      Me too. This is really important and actually mission critical. How are people with Pro1 and Pro 2 consoles managing for whom the Offline Editor is a regular part of their workflow? Is an upgrade coming soon and also, can I presume it will be totally compatible with the latest Mac OS?


      Ta heaps!


      Alan

      • October 5, 2019
  • MichaLoosli
    Contributor - Level 2
    2019-08-31

    I'm using mainstage with UAD Effects as my outboard effects via the X-Live card. I'm sending 4 auxes to mainstage an 1 stereo return from mainstage to the desk. At yesterdays show I lost the stereo return already at soundcheck. Only shutting down and rebooting the console solved the problem, but just for a minute, then the desk (or card) lost the stereo return again. I'm running this setup for a long time now with never any issues. The card was recognized by the computer at any times. I also was recording to the SD cards. Anybody any idea? Thanks for your replys

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    0 153
    • MichaLoosli
      RexBeckett

      @MichaLoosli 


      When you lost the return, was Mainstage still receiving the sends?


      Have you tried replacing the USB cable?

      • August 30, 2019
    • MichaLoosli
      MichaLoosli

      yes, the sends were working at any times, I did not replaced the cable unfortunatly

      • August 30, 2019
    • MichaLoosli
      RexBeckett


      @MichaLoosli wrote:


      yes, the sends were working at any times, I did not replaced the cable unfortunatly





      @MichaLoosli 


      It would be worth trying a different USB cable. 


      I would also check that the mixer routing for the USB Returns had not, somehow, changed. This could happen if any scenes or snippets were loaded.


       


      After that, I would suspect the X-Live card. It would be helpful if you could borrow a replacement card to test.


       

      • August 30, 2019
  • ChukGleason
    Contributor - Level 2
    2019-08-30

    Church sound tech here, we have a Midas M32R, about 15 months.  

    I for one (and maybe it's only me) have been struggling to really understand the routing ideas in the M32R; I know there are some defaults, like inputs 1-16 default to the 16 XLR Inputs, etc.   Plus, I've got 16 channels of vocalist & instruments coming in thru AES50-A, as inputs 17-32.  

    But is there any documentation the defines the default routing, and how do a quick startup & get music coming out for the FOH?  I see in the M32R Manual that it calls out that XLR outputs #15 &6 default to being the main stero pair.  Or XLR Jack #7&8, in another piece of documentation. (combing the Quick Start Guide and the Main Manual I've found a couple discrepancies between them) 

     

     

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    • ChukGleason
      DaveMorrison

      Hi @ChukGleason 


      On 16 output mixers, 15&16 are the LR main bus. On 8 output, 7&8 are the default outputs. Routing is one of the most confusing aspects of this mixer. Because it's powerful, it's a little harder to understand the concepts. The output assignments are generally done in two stages. Output 1-16 is main "staging" area to assign individual outputs from the many different sources (Aux Out and Ultranet can do the same). Output 1-16, however, is only an intermediate stage; these assignment go nowhere until they are then assigned to Card Output, AES50 A/B, or XLR Output.


      If you have questions about input, output, and routing, this is the place to ask. You can upload a scene file for us to analyze or fix, send us a description of your system and requirement, and we can give you a hand.


      The forum members are a great resource and will gladly help.

      • August 30, 2019
    • ChukGleason
      ChukGleason

      Dave - 

      You've made a classic understatement about the complexity of the routing. 


      So here's what I've worked out so far:


      1) Define all your inputs; whethere Local, (1-8, 9-16) and whatever you're bringing in thru AES-50-A (and of cours -B, if you're using it)  Write them down, one by one.


      2) Define your main output, Mono-Center or Main L-R, and if it goes out thru AES50-A to the amp, write that down; #8 for Mono, and #7 & 8 for stereo, route it from (whichever it is) to that AES-50A output


      3) Standard input signal operation;  Solo it to get its initial level, adjust the input gain to your standard level (0 dB or -10 dB, or whatever is your common), adjust the channel slider to your comfortable level (again, 0 or -10)


      4) Assign that channel to your  Main Output, with the Main Bus control portion on the upper control surface, adjusting Pan/Balance control as necessary if you're using Stereo. 


      5) In the Routing screen of the main display, figure out how to assign Main L/R or Mono Center to AES50-A #7 & 8 or just #8; 

      6) Assuming you've already got everything connected properly end to end, both incoming from the stage box to the mixer, and going out of the mixer back to the stage box & an amplifier & speaker, should be able to bring up your Main Level slider, and get some sound.  


      7) Continue with each input, in turn, getting  a decent level going out to the Main Output.  


      8) Each new output, such as Monitor speakers, or feeds to the other building or being sent to a PC for recording, is done similarly, but routed thru the MIX BUS sets; and you can route up to 4 at a time on one screen.

      Here's my example:


      1) Pastor's wireless  with lapel mic:  her mic gets routed everywhere (Main, Overflow, via MIX BUS2, Hearing Assist system, via MIX BUS 3, and  Recording, via MIX BUS 4 ) EXCEPT to the Monitors, which have routed thru MIX BUS 1, out the the AES50-A, #1 up to the stage box & to the monitor amp; 
      2) Associate pastor's mic, with lapel mic, exactly the same; because neither need to be heard in the monitor speaker for the praise band.  
      3) Next inputs, wireless headset mics for the vocalists, again, same except they DO get sent to the Monitor circuit. 


      4) Next, instruments like the guitar, the Clavinova, the mic for the Grand Piano, each get the same input trim treatment routing to Main Output(s), and then to the correct MIX BUS outputs, except probably don't need any Grand Piano mic in the Monitor mix; we do want it in the Recording feed.


      5) Output to other places can be sent out thru the #1 thru whatever XLR outputs, or maybe thru the AUX Outputs (again, my example, I round anything to be recorded, out thru AUX 5 & 6 as a stereo pair to a PC running Audacity). 

      So, that's a rough draft of how to go thru setup & routing.  It does seem to be kind of daunting because you have to decide early on where things are going and how to get them there, without having made other decisions first, so it's a little 'recursive' ; you define some things, run your setup routine for levels & routings, then have to do it again, 

      I'm reminded of my dad's story about his own mother, who married late at the age of 41 in 1915, a comparative old maid.  Her  new mother-in-law was trying to teach her to cook husband's favorites, and would often say 'Well, how much of this? Use your judgement!'   To which my grandma G would respond 'I am new to this, I don't have any judgement to fall back on! I need it spelled out concisely.  If I try to use my own judgement now, I'll probably fail, and not know exaclty where I've failed' 

      So, does that make sense, as to what I've been struggling against?  Now I have to take that general (VERY general) setup routine, and boil it down to a step-by-step procedure that a newby could follow if ALL the experienced members of the sound crew were to (for example) fall off a cliff.

      Further discussion requested here.  


      Further apologies if I've already borked some description here; it's been a long day & the brain cells are shutting down.    


       

      • September 20, 2019
    • ChukGleason
      DaveMorrison

      @ChukGleason 


      I think you have a pretty good grasp of the system. Sometimes it's the little things that can trip you up. For me, it's some of the labels and terminology that Midas uses—some of it seems backwards to me. Anyway—You can post your scene file if you ever get stuck. And we can always answer your questions. 


      The matrix function may be of interest to you if your overflow and/or Hearing Assist system (maybe even the PC feed) is similar to the Main output. The matrix outputs could be a copy of the main output with separate Level, compression and EQ applied to it. This could reduce your five independent mixes down to two or three.


       

      • September 20, 2019
    • ChukGleason
      ChukGleason

      Dave -


      Thanks for the offer to look at my file; here it is.  It's kind of a hodge podge of some different setups, combined non-linearly.  So there are a few disconnects and dead ends in a couple of the routings.  EX:  the way this is set up, the Main PA output is sent thru the Matrix 6 to the Recording output; altho I also have a MIXBUS #3 is supposed to go to the record output, instead. That way, the record output level can be independently controlled, separate from the Main Output.  Currently, if we make any adjustment to the Main Output slider, it also adjusts the record level.  

      I've also only just realized another problem I have, not that it can be solved here.  The Main Screen of the M32R is just at the wrong distance for either pair of my glasses; either the short-distance readers, or the distance/driving glasses with a nearsighted bifocal.    Must be time for a new Rx for the eyes.  


       


      Thanks.


      Chuk

      Midas M32R Scene Moderately standard.scn
      • October 22, 2019
  • MitchellAA
    Contributor - Level 1
    2019-08-29

    Im having AES50 sync problems with DL431 Between talking to the two consoles. but if i set the AES50 on the DL431 to sync to cable A it works fine 

    0 148
    • MitchellAA
      Paul_Vannatto


      @MitchellAA wrote:


      Im having AES50 sync problems with DL431 Between talking to the two consoles. but if i set the AES50 on the DL431 to sync to cable A it works fine 





      What consoles are you connecting to it, and are they both set for 96K?


      When attempting to sync to AES50 B, have you changed it in the DL431 Sync menu (page 17 in manual)?


       

      • August 29, 2019
  • billh2020
    Contributor - Level 1
    2019-08-28

    Greetings!

    I am still learning my way around a digital mixer and hope that I can get some advice on the best way to configure our MR18 mixer. In a nutshell, I want to route non-EQed audio post-fader to the USB interface and am not sure the most efficient method.

    Our Application

    We work with corporate clients to produce company meetings. These can take place in a variety of spaces, including very reverberant venues like breweries.

    We provide the local sound reinforcement and broadcast audio and video to remote locations using web conference or live streaming. When web conferencing, remote locations may present (using audio, video and screen sharing) to the local audience.

    Here is our audio routing: 

    • We have a combination of wireless lav/headworn/handheld microphones coming into the MR 18.
    • We are using PEQ’s on the channels and a TEG/GEQ on the LR mains. We also use the auto-mix feature on the microphone channels.
    • The MR18 LR mains feed a local sound system for sound reinforcement. 
    • The Midas USB interface is configured for 2 channel operation connected to a computer workstation running a video switcher application (i.e. the Video Switcher).
    • The web conferencing remote audio feed is routed from the Video Switcher to the MR18 using the USB interface for in-house playback. This allows remote presenters to address the in-house audience.
    • To avoid a feedback loop, on the MR18 we create a mix-minus aux-send feed using Bus A. This mix-minus routes all local microphone audio less the web conferencing remote audio via the USB interface to the video mixer. The tap point is post-fader since individual microphones are muted when speakers are off-stage. This audio is broadcast to all the geographically remote locations.

    The Problem

    Depending on the event space, we use PEQ/TEQ/GEQ on the microphones to suppress feedback. I would like to send the “fuller” sounding non-EQ’ed microphone audio to the remote audience while maintaining a tap point that allows us to mute individual mic channels for both local and remote audiences.

    On a side note, I've learned alot reading through these postings and appreciate the knowledge shared on these boards. Thanks in advance for your advice!

    Bill

     

     

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    0 504
    • billh2020
      GaryHiggins

      @billh2020 It seems like you have got your local feed under control with post fader room compensated sends to FOH. You can set your usb sends at a different tap and by using the +M version of that tap, still maintain your mutes as desired. You might want to try the pre eq plus mute tap (solid yellow in M32-Edit) for the usb ch sends. It would be best if you post your scene here to get a clear picture of what you have set up.


       


      EDIT: In the setup/GUI Prefs section, if you make sure "Apply changes to all channels" is NOT checked, you can even send every ch at a different tap point if that works out better for some usb ch's.

      • August 28, 2019
    • billh2020
      Vasco_Romijn

      In the routing setup by the USB sends tab you can set those channels to Pre EQ+Mute. I think you lost fader control on the USB sends this way because it is not post fader anymore. You have to try yourself because I do not own a MR18. Just have the software installed for offline configurations when I know there is one at a veneu where I have to work.

      • August 28, 2019
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