How have you got it wired up ?

Does it work with guitar in =>Bottom jack input and just headphones in headphone socket, with NOTHING else connected ? ( I emphasize the "nothing" cos if you have a lead connected to the "THRU" socket it will mute the guitar. Even if your not using it..)

With guitar in (bottom jack input), headphones and power being the ONLY things connected, the Looper STILL doesn't pick up the guitar signal. My usual configuration adds an XLR mic in, and an XLR L (Mono) out. Same result, though -- the looper picks up the mic just fine. But it doesn't capture the guitar.

Mind you, the VL3 IS picking up plenty of guitar signal -- I can see it on the "Level" meter in the top right. The Looper just doesn't record it. Is there some other option buried deep someplace that's been muted/deactivated/messed with that's causing this??

If you twiddle one of the mini knobs to get to the mix section, In the "headphone mix" part, is there anything there that needs tweaking ? maybe the "guitar trim" or the "loop trim" are turned down...?

It's weird that you can hear it,but not record it.

---

@Elam wrote:

Does any of you got the same problem or a clue on what's going on?

---

Patrick @PatrickGMaillot would definitely know how to solve it.

Thanks guys for your super fast response.

Patrick, I'll be in my studio in 5ish hours and I'll send you my .ini file.

As for now I can say that it's not 2- or 3- those seems correctly set. I don't know if I "use banks" as I just have the board a week ago and still learning the basics (but a long time Reaper user)

Hey P-G could you tell me what is the "RDCA" in the meantime? I have no clue ?. I just configured them as in the X32reaper .pdf? I'd like to understand...

It seems that I got issues with posting here... Test 1,2! Let see if this one will go through.

I attached my .ini file.  I had to .zip it for technical reasons?

Patrick@PatrickGMaillot  please, break down the concept  of RDCA" for me/us

Thank you??

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.

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).

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.

HTH