• 2018-02-10
    Last night, at a gig, I set up my Xenyx X2222usb mixer as usual, using both one mic going directly from a wireless transmitter for my trumpet player, and another mic for my voice, which I am running through a TC Helicon vocal box with fx. For some unknown reason, no effects are being output, either by the internal fx unit of the mixer, nor though my vocal processor. I have looked at each setting and knob and see nothing wrong or unusual or disabled. However, no matter which mic input I use and how i connect it, no effects can be output. Maybe it's something silly I have overlooked, but I've had this mixer for a few years with no problem at all, and I'm wondering if something is wrong with the mic inputs (XLR).

    This is an emergency situation, I have 5 gigs coming up in the next 8 days, and I need those effects ASAP. Can anyone help? Thanks.
    0 330
    • DaveMaffris
      Paul Vannatto Hi Dave,

      Welcome to the forum. I can't help much with the TC Helicon vocal box, but might be able to help with the X2222usb. Here are a few things to check

      * Engage the Fx by pushing on the program encoder (to the right of the Fx display)

      * Just below that in the Stereo Aux Return section. Make sure the orange knob is turned up and the switch to the right is set to Main LR (up I believe).

      * Make sure the orange knob on the mic channel strip is turned up.

      * Make sure nothing is plugged into the Stereo Aux Return 3 1/4" jacks at the top.
      • February 10, 2018
    • DaveMaffris
      DaveMaffris Thanks, Paul, I believe all of what you said is as is should be, but will check again. My TC Helicon is fine, I just had accidentlly turned off the foot switch but the effects are still not working, so I will double and triple check them again. I just think the unit has failed in this way, and is otherwise fine. I did pick up an extra reverb foot switch for my partner who needs reverb on his trumpet and it works fine, but it's a shame I cannot just dial in the internal effects like I used to. I'm afraid I might have to bring it in or seek out service for it, and I am gigging all the time right now, so it would be inconvenient at best and [possibly costly to repair. I've only had it a few years at most. Oh well. Thanks.
      • February 17, 2018
    • DaveMaffris
      DaveMaffris Hey, Paul, I feel like a dummy, but in fact, the button to send the FX to either the Main or Sub out was pressed down (thought I checked it, but I misread it and thought "down" was for main, not sub). So once I put it in the UP position, voila, effects came back. Too bad I bought that other unit, but I needed it, and maybe it's not a waste, or I can return it. My effects are back, and I'm very thankful for your assistance.
      • February 17, 2018
    • DaveMaffris
      Paul Vannatto Hi Dave,

      Glad to hear that you got the effects working again.

      Regarding the extra foot switch, I would suggest you hold onto it as a backup. You never know when something will fail. I have backups of most of my gear (some I have backups of backups) and they've been lifesavers when I needed them.
      • February 17, 2018
  • 2019-03-26

    Hi all,


    I'm currently browsing the market for a rack-based system upgrade to my HoW's current system, which is a Mackie DL32R. We currently run LR plus an aux for a mono-sub feed, then 6 stereo IEM feeds. We'd like to eventually upgrade to something with the capacity for up to 9 or 10 stereo IEM mixes, plus an LCR feed.


    The M32/X32 is obviously ubiquitous in the HoW sector, so it's naturally at the top of my list. What's the best way to configure something like what I need that is purely rack-based (surfaceless)? Would it be something like 2x M32C + DL32 + DL16? Or 2x M32C + 2x DL151 + 1x DL152?


    Without hands-on experience with the M32 and only brief exposure to the X32, I'm not sure how to configure a system for my needs. I've done some reading around including on these forums but with my merely superficial knowledge it's a bit difficult to decipher how it all works by looking at similar but different implementations. I'm aware of the 8-channel routing groups over AES50 and 4-XLR patching for example, but I can't quite calculate in my head if/how that can accommodate what I'm hoping to achieve.


    EDIT: I forgot to mention, I'm aware of the P16 option, but would like to avoid that if possible and have band members take care of their mix on their iPhone/iPad/Android. The less setup time the better!


    Thanks in advance,



    0 244
    • Mark Peskett
      Paul Vannatto

      Hi @mpeskett


      Welcome to the forum. Glad to hear that you are considering the M32C for your HoW replacement audio system. From your description of your current needs, one M32C plus stagebox(s) will suffice, since one M32 has 16 mixbuses, plus Main LR and mono bus. The mono bus can be configured as an aux-fed sub bus or LCR (in conjunction with Main LR). Typically the last 4 mixbuses are used for feeding the first 4 Fx slots, leaving 12 mono (or 6 stereo, or combination thereof) for monitors/IEMs. Adding a second M32 will double that capacity. 


      Another option would be to consider getting an X32 Rack (unfortunately they never made an M32 Rack for some unknown reason). Since you are planning on using the Midas stageboxes (DL16, DL32 or DL151, DL152), the sound quality would be no different. The DSP engine in X32 and M32 are identical. The advantage of the Rack is that it would provide additional input/output for other needs, such as hearing assist, broadcast, etc. and not tie up input/output of the Midas stageboxes. Just something to consider.


      I would suggest you download the M32-Edit and play around with it. If you want the older version which emulates the M32 console display, here is a copy. If you need any help setting up, routing configurations, scene or snippet creation, we'd be glad to help out.


      Regarding the decision as to what stageboxes to use, that all depends on your setup. If you prefer to have all of the inputs at one location and all of the outputs at another location, the DL151, DL152 may be a better option. My preference would be using the DL16, DL32 (or 3 DL16) in order to spread both inputs and outputs across the stage, reducing the cable spaghetti.


      • March 26, 2019
    • Mark Peskett
      Mark Peskett Thanks Paul, that's helpful, particularly the older version of the M32-Edit!

      Since I'm curious about having 9-10 stereo IEM mixes I think I would be needing two DSP engines in order to have enough mixbuses alongside FX. I admit that having that many stereo IEM mixes does sound quite excessive. Right now we typically have a 6-piece band due to stage-space limitations (we meet in an independent cinema). When we find a new venue however we'd love to start increasing that a little. Most likely 8 will be our typical upper limit but being able to accommodate a 9th or 10th mix for say a choir conductor and/or a cellist would be awesome.

      In order to achieve that, would an M32C, DL32 and X32-Rack do the trick? That should be enough physical ins and outs for everything. Is there the routing flexibility to say run IEM mixes 1-6 from the M32C (using buses 1-12) and out of the DL32 XLR 1-12? Then LCR would come out of DL32 14-16 (leaving output 13 unused) and leaving mixbuses 13-16 for FX. IEM mixes 7-10 would then have to be processed by the X32-Rack and sent out of it's own 8 XLR outputs, which would of course mean the X32-Rack would need to receive most/all of the M32Cs channels pre-fader (post-DSP).

      The above would also mean that FOH and band members 1-6 would use M32-Mix on the iPad for their in-ears and members 7-10 would need to use X32-Mix. Perhaps not that much of a big deal.

      Is there perhaps a less convoluted way to achieve this as far the routing is concerned?
      • March 26, 2019
    • Mark Peskett
      Paul Vannatto

      Hi @mpeskett,


      Just got back from a church board meeting. As I mentioned, your current needs (Main LR, aux subs, 6 stereo IEMs) would all fit in one console, whether it be an M32C, X32 Rack or any of the other models of the M32/X32 family. And it is a simple case of adding a second console to increase mixing capacity (more stereo IEMs, LCR, etc.).


      One thing to note though, is that there is a difference between the input/output stages of the X32 and M32. One of the bands I frequently do sound for (a 4 piece classic rock band), I had transferred them from my X32 Rack to an XR18 for simplicity setup and they didn't need the full feature of the X32. Later, I was asked to be a beta tester of the MR18 and they ended up as the first guinea pigs. The first gig I did with them with the MR18 (same scene and setup), I was amazed at the difference and commented here on the forum, by stating that the difference was like the difference between standard bedsheets and silk ones - the latter being smooth and luxurious. That all said, I would suggest using the Midas stageboxes for all critical inputs and outputs. For others (eg. hearing assist, streaming, maybe even IEMs), the difference may not be noticeable at all and the Rack may be just the right console (because of it's versatile design).


      Regarding the routing of multiple consoles, as long as you can stay within the 32 inputs, both consoles can be setup to receive identical inputs and only the functionality and outputs would differ. For the additional IEMs, some of them could connect to one of the consoles and use it's mixbus pairs, while other IEMs would connect to the other console (since each console would have unique IP addresses).


      Instead of using the M32-Mix or M32-Q for mixing IEMs, I would highly suggest using Mixing Station instead. We've been using this app for a number of years (I've used it since Aug 2013) on our android tablets and phones. Recently the developer has changed his developing environment to allow porting to other OS and recently released a version for the iOS (iPad and iPhone). I even use it (Mixing Station Pro) for mixing FOH with both my X32 Racks and MR18 (and occasionally MR12).



      • March 26, 2019
    • Mark Peskett
      Craig Fowler

      I'd think very carefully about splitting monitor duties over multiple consoles. You end up running into the issue of how you keep the channel processing (eq+dyn) consistent across both consoles.


      You've identified the need for one monitor console to send signals to the other post-dsp to allow for this, which the X\M32 series can do, but only for up to 38 signals (Routing>out1-16+aux out+ultranet tabs. I know the aux out tab allows for 8 signals so technically you can stage 40, but the AuxIn Remap on the next console can only receive the first 6 of a block-of-8, so it's effectively only 38.) The problem is that if you set these tabs with DOs from 38 individual channels, you run out of room to stage outputs for the actual monitor buses themselves. If you're wanting to output 12 signals for mons + 3 for FOH, that leaves you with only being able to pass 23 DOs with your preferred tap point out to the other monitor console.


      That also doesn't take into account how you keep FX consistent across both consoles either. You could pass FX returns (or just the sends, assuming you can keep the FX engine parameters constantly between the consoles) from the first console to the 2nd one, but those would eat into the 23 count. How many inputs do you actually have?


      Patrick's X32_Commander app could be a solution to both problems, but it would require a windows computer on the same network as the consoles, and a lot of configuration. I've played with it a bit (mostly for vertical channel linking,) but I don't think anyone's tested in this sort of application.


      Furthermore, in this example of 2 consoles, 1 for FOH and both for monitors, it means that (even with Patrick's app,) the FOH sound shares channel processing with monitors, which almost defeats the purpose of having a dedicated monitor console. Assuming you're using some FX for monitors (if using IEMs you'll want a couple of FX buses for ambiance, especially if sources are close-mic'd or you don't have dedicated ambiance mics,) you also limit the amount of FX engines you've got available for FOH FX.


      To do what you're asking (10x stereo IEMs using the X32 ecosystem,) you sort of need 3 consoles: one to do the eq+dyn of each of the channels, then (due to the routing limitations of only 38 "stagable" signals,) another 2 consoles to provide the actual monitor buses. You'd then need a 4th console for FOH if you wanted separate channel processing for FOH.


      A far simpler solution would be a console that has enough channels\buses to start with. A&H SQ5 is 19" rackable (though it has a surface,) has 48 channels, 12 stereo buses (use 1 for your sub bus, you've still got 11x stereo buses left over for 11x stereo IEMs) + 4x dedicated FX buses + LR, you just need the stagebox for the physical IO (AR2412 + local IO will give you 40x24.) If 48 channels isn't enough to split into separate FOH+monitor channels with separate processing, you can get a Dante expansion card and hook it up to any other console running Dante, eg the X32Core with the X-Dante card, if you have a computer to configure the Dante routing.


      There are also more expensive options too, eg an A&H dLive CDM48 ("surfaceless" 48x24 physical IO+DSP,) or a DigiCo s11i (19" rack DSP with a surface and minimal IO, so you'd need to buy a stagebox separately too,) but both of those solutions are $$$. 2nd hand iLive could also work.


      Bottom line is that if you're looking for consoles to do 10x stereo ears you're looking at consoles with 20+ buses (that many buses generally also means lots of inputs.) Consoles with lots of inputs and buses are generally expensive. Trying to cobble together a cheaper solution using multiple smaller consoles is going to inevitably lead to usability (particularly routing) compromises.


      BTW, the DL32R has 14x analogue outs, but you're saying you use 6x stereo IEMs +LRM.  That would require 15 outs.  I can only assume you're using the monitor outs (and essentially sacrificing the console's solo function,) or you're using AES3, probably for LR.  If using AES3 and your FOH DSP\amps only have AES3 inputs, you need to think about which stageboxes you pick, as only some have an AES3 output.



      • March 27, 2019
    • Mark Peskett
      Mark Peskett Thanks Craig, that's all very helpful. Since I have very little exposure to the X32/M32 system I'm not sure I follow exactly what you're saying in terms of the routing, but I take your point that it probably makes more sense to get a single console that has all of the DSP and I/O that I need/want in the first place. I have in fact already been looking at the SQ5 and even the CDM48 - both are attractive options. Wasn't aware of the Digico solution so I will also check that out.

      With the DL32R we are indeed using the monitor outs. They actually just feed one IEM system and the XLR outs feed the other 5. Outs 12, 13 & 14 feed a mono-sub, L&R. I have thought about using AES for LR but really in out particular setup it's not been necessary.

      Thanks again.
      • March 27, 2019
  • 2019-04-09

    With an update in March of 2019, we've made it possible to select what inputs are included in the "Line Out" mix.

    This has a few different applications:

    - You can plug GoXLR into the streaming PC and not lose any functionality

    - You can use GoXLR with console chat

    If you have installed the GoXLR App, and Line Out is not an option in your routing table, follow these instructions: https://youtu.be/YcLxp9PYpEY

    If you want to know how to set up GoXLR to use with console chat, see the diagrams in our Discord (http://discord.me/helicongaming)

    Follow Us:

    Discord: http://discord.me/helicongaming

    Twitter: http://twitter.com/helicongaming

    Instagram: http://instagram.com/helicongaming

    Buy GoXLR: http://bit.ly/go-xlr

    2 1,160
  • 2016-04-16
    Hi to all,
    I'm sorry to complain about my new MS40 Near Field Monitors...
    At a first hearing the speakers are extremely clear and have a crystalline sound, but when I rise just a little the volume (let's say 1/4 , 1/3 of total) I hear a strong mechanical vibration on bass frequencies on the right speaker... more udible on the rear of the loudspeaker.
    The audition in headphone is instead perfect also with a loud volume...
    Very displeasing and unexpectable on a Behringer product (even if in the low price zone ).
    Can someone help me to solve the problem?

    Good bye to everyone
    0 423
  • 2019-05-03


    I've had my M32R for the last 2 years, extremely satisifed of it. I know and understands the routing of the system, did many recordings directly in my DAW (Adobe Audition and Pro-Tools) without any issues. I've updated recently the Firmware to 3.11 unfortunatly since then, no audio is coming in either both DAW's software. My system is a MacPro Late 2013 on macOS Mojave. The systems and the DAW's recongnise the DN32-USB with it's 32 inputs and 32 outputs, but no signal from the M32R comes in. As for playback from my Daw's software, both are running great. MIDI controls work perfectly also. So here's the question, Am I missing something or maybe a configuration in the new Firmware. Please need held.


    0 265
    • Yves Arsenault
      Richard Yeomanclark

      Did you also recently update the OS to Mojave? Apple has reset some of the Privacy/Security settings that, by default, turn off the inputs from any incoming mic or audio interface.

      • May 3, 2019
  • 2019-05-07

    Hey guys,


    So I've got my X32 Rack + S16 fully functional now, and I can get everything to record just fine. My band and I rehearse and the levels are great in our mixes, ears, and mains, but the problem I'm having is that the inputs going to my DAW (Cubase 9) are all over the place when we record anything. I'm running a USB from the X32 card to my laptop.


    Is there a way to compensate for this other than setting the gain per channel or changing the fader levels in the DAW itself?


    Thanks y'all.

    0 49
    • Alex Morrison
      Rex Beckett


      Hi Alex, the USB output levels can only be adjusted with the channel gains. This makes it possible to play the recorded tracks back through the mixer for a virtual sound check. You may need to check that the channel gains are set to give similar levels on the meters - and adjust faders/sends to compensate for any changes.

      • May 7, 2019
  • 2019-05-15

    Sign in Join no
    Hit Refresh
    Uli Behringer Follow Music Tribe Leader
    122 18 1
    Dear Tribers,
    Today, I am addressing you with a very important message, a message that will affect all of us. Over the past months I have shared with you, why we need to become Customer Obsessed. (Obsession is the domination of oneʼs thoughts or feelings by a persistent idea, image or desire). Customer Obsession means that everything we do must be relevant to the Customers we chose to serve and also exceed their wants and needs.
    Over the past years we all have become complacent and frankly we lost our focus and purpose why we exist and come to work. Organizations who lose their customer purpose will cease to exist and we have seen many examples such as Nokia, Blackberry, Avaya, Kodak, etc. You know my favorite line: “Happiness comes from doing meaningful things for other people in return for appreciation and recognition.”
    Who Pays Our Salaries?
    When I ask this question, people quickly respond by saying: “Itʼs you, Uli”. Nothing could be further from the truth as I am only representing our Customers who are gracious enough to keep us alive by buying our products. My job is to re-distribute our Customersʼ money to you the Tribers by paying your wages and acquiring new Tribers, equipment, facilities as well as a new company from time to time.
    If we ever fail to deliver outstanding services, our Customers wonʼt buy our products anymore, money will dry out and we will cease to exist.
    Hit Refresh
    As the Music Tribe Leader I have an overall responsibility for our 4,000 Tribers and my only purpose is to ensure we as Music Tribe stay relevant and deliver incredible value to our
    Customers. If I cannot deliver this task, I will have failed our Customers and a better leader should take my place.
    Music Tribe is more important than myself and I am taking my given responsibility extremely seriously, a responsibility to create, retain and grow a Customer Obsessed organization where every Triber focuses on our Customers - every second of the day. Only if I can achieve this, I have fulfilled my role and responsibility and hence I will do everything in my power to deliver on this promise.
    Over the past 2 months I have done lots of soul searching by taking the time to truly reflect on the Music Tribeʼs Vision but also my personal Vision. I am very grateful for all the people who have helped me on this insightful journey and today I am proud to present the outcome – our Music Tribe Vision which you can find in our Academy. The Music Tribe Vision is a Customer Obsessed Vision where all our services surround the ONE person that truly matters – our Customer.
    Microsoftʼs CEO Satya Nadella wrote a book called “Hit Refresh”, a book which has greatly inspired me. It's a journey of a man who has applied his own values to an organization by defining and executing on a purpose; the purpose to serve Customers by truly empowering them. Look where Microsoft is today – within a short period of time, the company has done a complete turnaround and now become the worldʼs most valuable company.
    Like all of you, I am also reporting to our Customers who have empowered me to serve them. I am responsible to ensure that we all act in the spirit of our Customer Vision, which means only one thing – to deliver true value to the our Customer. Consistently and relentlessly.
    Think Slow – Act Fast
    With the Music Tribe Vision now in place, itʼs time to act fast and relentlessly. We will be
    https://www.linkedin.com/pulse/hit-refresh-uli-behringer?article...64#comments-6521289259863896064&trk=public_profile_post 5/15/19, 5J36 PM Page 1 of 4


    what is going on. I can’t get service, warranty, nothing. Half the service centers no longer take Midas pro series if anything from the tribe!

    0 172
  • 2018-11-02
    It would be great if they added a body pack that can be used with an instrument like a guitar, a lavalier or a headset mic. Personally would use the headset mic.
    0 154
  • 2019-05-28
  • 2019-05-31

    Hi Everyone,

      I recently got the M32 Live.  I am using the DAW remote for Pro tools 11.  If i move a fader on the M32 or in Pro Tools they mirror each other perfectly.  But that's about all I can do.  I tried something simple like panning a selected channel on the M32 and Pro Tools will not respond to this command.  I then went to encoder 1 bank A and it will do it for Channel one in PT, but encoder 2 will not do it for channel 2 in PT and on.  Even if that did work, I could only pan 12 channels on PT, since there are 3 bank sand 4 encoders on each.  Is there a way to pan PT from the M32?  It works for the faders, so PT must be getting the midi info.  I've tried all kinds of different routing options on the M32, but no panning.   I'd think this would be something pretty simple. 

    Also, for no apparent reason, sometimes  one or two of the faders on the M32 start twitching on their own.  Has anyone experienced this?

    Does anyone know how to use the panning as a controller for Pro Tools, without using the encoders?  I know it can be down on Logic X, you just have to put Logic in learn mode to learn the midi command being sent.

    Thanks for the Help



    0 449
    • Jorge Rodriguez
      Lance Mcvickar

      Here goes.
      Hit the view button in the custom assign buttons then from the home tab switch to Set A - Select encoder 1 so its highlighted. then select target type "remote" so its highlighted then parameter 1 (that will then use encoder 1 to pan what ever track is in the position of the first channel coming up on your daw. You do this for the Set A of encoders, 1 2 3 4 which are the middle 4 encoders of the 6. Then go back to the assign view home page and select set B and set encoders 1 -4 again to 5 6 7 8.
      This gives you pan control of the currently selected 8 faders! OF corse this is not the way you would really want it as you would rather hit the select button on the channel and then turn the big pan knob to pan. Even tech support said there was no way to pan so I have to give myself a pat on the back! Maybe by digging some more there is a better way than this but now we know Remote parameter 1-8 is pan for daw remote.

      • June 7, 2019
    • Jorge Rodriguez
      Marg Purdam


      Just wondered if you found any solution to the twitching issue.

      I've just set the m32 up with Pro Tools 2019.12 and fader 13/FX return 3 L/R are doing the twitching thing.

      Thanks for your post - it all helps!


      • Feb 18
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